The first component of (my) artistic existence is the journey, first in its physical form, that is the movement in space and time in all levels, from the local to the global. The journey is conceived as a laboratory of ideas, experiences, proposals and artistic design. With the expression travel-artvel, one does not mean the art of “well-traveling”, but the travel experience becomes the origin of both obstacle recognition and opportunity for meeting the unknown, in other words the raw material for every artistic endeavour.
The journey as a metaphor, as a mental-emotional adventure, when accompanying physical travel reminds of the samanistic journey. The issue is not the journey as touristic curiosity, but as a desire to reveal the cultural differences between words, things and events in a variety of social situations.
The “entopies” sample of photos from the Far East [Japan (1985-2008), China (2003-2009), Thailand (2008) Indonesia (Java) (2009)] in dialogue with the music of Dimitri Kamarotos belong to the field of intermedia since they are supported by a web-based artistic practice and are realised in the name of modernity (historical, mature, late).
The dialogue between the photos and the music aims to highlight that the u-topia of the photographic act can lead to revelation of the multiple dimensions referring to the visible version of things and situations, that is to say an en-topia(entopeia:en landscape-en space,in greek).

Demosthenes Agrafiotis

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