Bright Shadows
In a new reality, where everything turns around the individual, where contact is not allowed, Andreas Theologitis pres- ents his new photographic creation. He tries to take his work one step further while remaining true to the fundamen- tal principle he has been following in- sistently over the recent years: The ex- ploration of the various aspects of the naked human body.
In a world where we all live in hid- ing and where one can recognize even one’s beloved persons with difficulty, he builds upon his previous work “Try- ing to Keep the Essential” and decides, against expectations, to hide not only the faces but also the bodies. Follow- ing his usual practice he does not, or only very rarely, use props or costumes and by conviction he does not make any digital transformations or collage. Previously, faces and expressions were absent and the focus was on the details of the body. Here, in contrast, even the bodies are covered. As if they were los- ing their identity, maybe even their own being; everything fades into the austere white background.
With this approach, in a first and superfi- cial reading, everything may look remote. hidden behind the cocoon.
Beyond appearances he incites us to discover what the real presence would have been if everything would be mov- ing behind a perceived limit.
Andreas Theologitis creates a photo- graphic environment in the way he knows from his experience as an archi- tect. With the technique of high key, he creates an interaction between light and shadow like in traditional Greek archi- tecture where white volumes interact with one another under the ever-chang- ing bright sun. Where light highlights shadow.
Here shadows play a distinct role, they emerge as the key point of the concept. They function as a balancing factor and help the viewer to read the image. Most importantly though, lines of shadow ex- press in a dynamic way the feelings that Andreas Theologitis wants to evoke. Women confined within themselves fight with their own thoughts, express their mood, their feelings, their sen- suality. They show their power, their anger, their despair at their restrained movement. Their covering underlines the tension inside them. The knowledge that they cannot be recognised makes them take postures which reveal to the viewer who they are, giving them a sense of freedom. They succeed in de- fining in an unexpectedly powerful way the distinct personality they have.
In this series the viewers can give free reign to their fantasy. Dissoci- ated from concrete faces and bod- ies, without stereotypes, they are free to imagine the woman they would like to be behind the veil. These women become the creation of their fantasies, what they allow themselves to conjure. Andreas Theologitis explores the language of the naked body through hidden, abstract figures that reveal emo- tions. Like living statues, they are captured by his lens in their move- ment and the intensity of their feel- ings. Ultimately, dark shadows are bathed in light and become the Brightest Shadows of his mind.
In a world where we all live in hid- ing and where one can recognize even one’s beloved persons with difficulty, he builds upon his previous work “Try- ing to Keep the Essential” and decides, against expectations, to hide not only the faces but also the bodies. Follow- ing his usual practice he does not, or only very rarely, use props or costumes and by conviction he does not make any digital transformations or collage. Previously, faces and expressions were absent and the focus was on the details of the body. Here, in contrast, even the bodies are covered. As if they were los- ing their identity, maybe even their own being; everything fades into the austere white background.
With this approach, in a first and superfi- cial reading, everything may look remote. hidden behind the cocoon.
Beyond appearances he incites us to discover what the real presence would have been if everything would be mov- ing behind a perceived limit.
Andreas Theologitis creates a photo- graphic environment in the way he knows from his experience as an archi- tect. With the technique of high key, he creates an interaction between light and shadow like in traditional Greek archi- tecture where white volumes interact with one another under the ever-chang- ing bright sun. Where light highlights shadow.
Here shadows play a distinct role, they emerge as the key point of the concept. They function as a balancing factor and help the viewer to read the image. Most importantly though, lines of shadow ex- press in a dynamic way the feelings that Andreas Theologitis wants to evoke. Women confined within themselves fight with their own thoughts, express their mood, their feelings, their sen- suality. They show their power, their anger, their despair at their restrained movement. Their covering underlines the tension inside them. The knowledge that they cannot be recognised makes them take postures which reveal to the viewer who they are, giving them a sense of freedom. They succeed in de- fining in an unexpectedly powerful way the distinct personality they have.
In this series the viewers can give free reign to their fantasy. Dissoci- ated from concrete faces and bod- ies, without stereotypes, they are free to imagine the woman they would like to be behind the veil. These women become the creation of their fantasies, what they allow themselves to conjure. Andreas Theologitis explores the language of the naked body through hidden, abstract figures that reveal emo- tions. Like living statues, they are captured by his lens in their move- ment and the intensity of their feel- ings. Ultimately, dark shadows are bathed in light and become the Brightest Shadows of his mind.
