Abstract Colour Architectural Photography
Abstract Colour Architectural Photography
These photos come from a huge tank of photographs that my archive encompasses and have in common the clear reference to architecture and the built environment in general and the absence of humans. They were taken in various places I have visited all around the world, having always in mind that everything is interesting and beauty is to be found in anything. The way I am communicating, connecting and experiencing in general the cities I wandered in has a certain, personal idiom. Literally, I intensively scout the built environment like an urban shaman and hold constantly my camera as an extension of my hand. While ‘scanning’ the city as described, my high grade congenital ability of observation triggers my figurative transformation into a man-machine; a ‘scannerman’. Usually I trace and extract a narrow piece from the whole field of view and frame it and present it isolated from the large scale that it is part of. The subjects in the captures range from a small architectural detail to a building. When shooting, I orientate myself, mainly but not only, to close ups and adopt basic aspects of deadpan photography. In this way, geometry emerges and dominates in the representations. The procedure has subconsciously and unaffected a methodology akin to the one that scientists follow during their research, resulting depictions which project a sense of perfection of the represented subject.
Shapes, forms, colors, textures, light and perspective, all orchestrated as a music ensemble give space to the emergence of a geometric beauty of harmonies, rhythms and melodies similar to music. Thus, they offer the opportunity to the viewers an alternative and lyrical way of seeing the sometimes harsh urban environment they live in. Being a fundamental of human physiology of vision, colour in photography is significant to keep us directly in connection to objective reality. In this way, colour photography saves the viewer of entering a pathway to imagine how an object is in the real world, as in the case of black and white photography. Colour contributes with the worth info and grants the viewer with space and time to dive deeper into meanings and narratives, mainly attached to political and social issues that our world faces nowadays. At large, these works reflect my idea and theory that the visual elements can provide at large diverse compositions without ever exhausting all of the options, revealing a new world of visual poetry, in the frame of what Edgar Degas once said that “Art is not what you see, but what you make others see”.
Tolis Tatolas
These photos come from a huge tank of photographs that my archive encompasses and have in common the clear reference to architecture and the built environment in general and the absence of humans. They were taken in various places I have visited all around the world, having always in mind that everything is interesting and beauty is to be found in anything. The way I am communicating, connecting and experiencing in general the cities I wandered in has a certain, personal idiom. Literally, I intensively scout the built environment like an urban shaman and hold constantly my camera as an extension of my hand. While ‘scanning’ the city as described, my high grade congenital ability of observation triggers my figurative transformation into a man-machine; a ‘scannerman’. Usually I trace and extract a narrow piece from the whole field of view and frame it and present it isolated from the large scale that it is part of. The subjects in the captures range from a small architectural detail to a building. When shooting, I orientate myself, mainly but not only, to close ups and adopt basic aspects of deadpan photography. In this way, geometry emerges and dominates in the representations. The procedure has subconsciously and unaffected a methodology akin to the one that scientists follow during their research, resulting depictions which project a sense of perfection of the represented subject.
Shapes, forms, colors, textures, light and perspective, all orchestrated as a music ensemble give space to the emergence of a geometric beauty of harmonies, rhythms and melodies similar to music. Thus, they offer the opportunity to the viewers an alternative and lyrical way of seeing the sometimes harsh urban environment they live in. Being a fundamental of human physiology of vision, colour in photography is significant to keep us directly in connection to objective reality. In this way, colour photography saves the viewer of entering a pathway to imagine how an object is in the real world, as in the case of black and white photography. Colour contributes with the worth info and grants the viewer with space and time to dive deeper into meanings and narratives, mainly attached to political and social issues that our world faces nowadays. At large, these works reflect my idea and theory that the visual elements can provide at large diverse compositions without ever exhausting all of the options, revealing a new world of visual poetry, in the frame of what Edgar Degas once said that “Art is not what you see, but what you make others see”.
Tolis Tatolas