Petros Koublis是一名摄影师，他的作品IN LANDSCAPES主要在希腊雅典的郊外拍摄。这些位于城市近郊的风景画面，那些橄榄老树，草甸，高山，海洋都无一例外的散发出与城市截然不同的寂静。这些沉默，是城市周围响亮的无声之泣。
The area that surrounds Athens is composed by a certain antithesis, as the vast urban surface meets with the countryside.
Surrounded by the silence of centenarian olive groves, meadows, mountains and seas, the city today struggles to carry the weight of its own existence, facing a rather tough and tense present. This is a prolonged silence that seems to surround the loud and desperate cry that comes out of the capital city.
– As water drips through stone
With more than 4 million people living today in Athens’ metropolitan area, the city itself is a controversial image on its own, sketched by the difficult palpable reality that everyday an increasing number of people have to face. It is a depression that gradually influences every aspect of life, economically and psychologically, in quite a dramatic and absolute way, as the consequences of this crisis are extending and the agony for tomorrow is constantly growing. Around the world, images of graphic violence, extensive riots and distressing poverty have been transmitted by the media, enhancing the depressed portrait of the city. The center of Athens has been the main scenery of the crisis that this country is going through and the drama in the streets of the city provided a visual narrative for the Greek Crisis chronicles.
– In groves but silently
The images of this project were made around the outskirts of Athens, less than 30 miles away from the heart of the capital. It is the area that surrounds the depressed city and all the millions of its citizens’ individual stories. Outside the invisible borders of the extended metropolitan area, in the land that lies behind the edge of the city, time seems to move parallel but in a different density. There is an inevitable contrast between the two states, a parable manifested by the discreet mystery that trees seem to hide among their branches and seas among their waves. This is an alternate state in parallel time, where silence seems to carry inside it a waiting, patiently whispering a long forgotten language.
There is no beauty that is timeless but the timelessness of nature can reflect a new direction, maybe even a hope.
It’s not a blissful silence but it’s an inspiring one.
– As a night between two days
Petros Koublis认为摄影是考古的一种形式。时间往前流逝，考古追溯过去，摄影记录现在，为未来留存档案。他用未来的眼光记录当下。是的，即便没有文件，历史也是存在。Petros Koublis尽心扮演的“存档”角色，在事实的基础上兼具转化的角色，同时拥有想象力和说服力，介于历史与神话之间，理性并诗意，如同正在梦游的人解决数学难题那样，不可思议却又合理。
– And heavens if
– Then whispering more
if breathing’s a meadow
– Nothing as splendid as the sea
– Every anything more than believe
– The rain is a handsome animal
– Later since every land illimitably
– Something of silence so silently flee
– Sleep wake hope
– Things I think about the hay
– From spiralling ecstatically this
– Beyond the brittle towns asleep
– Streams of pleasure ever flowing
– Yet forever with each breathing yes
– Caldae incleh mis inkhtar
– Away beyond where
(form Petros Koublis) I think of photography as a form of archeology.
Only the time perception is reversed, as archeology discovers what has survived the past, while photography creates an archive that intends to survive the future. This is an abstract procedure that resembles the working process of archaeologists. The effort to dig deeper and separate the dust from the findings provides a strong metaphor but there’s also the skill to estimate what needs to be saved, what needs to be stored, what needs to be photographed.
One has to think of the future; how things are going to look like when everything is going to be in the past. After all, everything tends to acquire a whole new identity when the variable of time gets involved. Things, before they change into something else, more or less different, they go through a long process of transformation. This is the normal state in which we meet them within our lifetime. These changes are the equitation factor I’m more interested in.
There is always something more, something beyond the actual photographic quality of an image.
There is also interpretation.
Our perception of the past is partially based on strong hypotheses. When there are not enough sources of information, an archeologist has to interpret the findings and achieve a convincing hypothesis. Today such hypotheses are strictly controlled by the academic world and mistakes can be avoided. But till a couple of centuries ago, when archeology wasn’t an established science, interpreting the facts was a quite subjective procedure and hypotheses were influenced by imagination. In Greece one can still visit the King Minos Palace or the Tomb of Agamemnon, even though there is no historical documentation they ever really existed.
Imagination is always a part of interpretation.
I try to include such an imaginary interpretation in my own work. Photography has the ability to offer documents; nevertheless it also has a certain transforming force. I try to approach this transformation as an actual part of the documentation. This is the vital part of the “hypothesis” my work suggests.
It’s like trying to blend history and mythology into something that will look like a convincing fact in the future.
Photography can be an ideal medium for this. It’s both so strictly rational and so poetic.
It’s like a somnambulist solving math problems.