Through photography we perceive perpetually moments for qualitative viewing. It describes our relationship with the present and explains the value of memory as the distance between presence and ignorance.

Panayiotis Lamprou’s work is dedicated to the research of pure photography. While recognizing that vision records the extent feasible - in order to become aware of the life that surrounds us - he constructs his photographic images without interacting with his theme and lets the space and its light to be read as the identity by the viewer.

He synthesizes his images measuring through his influences. Josef Sudek, Walker Evans, Eugene Atget, Diane Arbus, Guido Guidi. His own identity emerges according to the evolution of his philosophical awareness, like being in a constant dialogue [with life]; a dialogue that needs to be constantly evident in the real world.

Time is important at the moment of capture, when expression is intimately involved with life with the intention to go beyond the human artificial time. The titles of his photographs are between their literal meaning and the real view of the photograph. It is a way to ground the reading of the image and give rise to the constructed verbal symbolism of the Word;

Panayiotis Lamprou has a persistent relation to the square frame; appreciates the restrictions of its shape, which challenges him to find ways of liberating the subject’s presence despite the surrounding narrowness. He perceives the square format as the eye’s pupil and he photographs in full frame, which values the black contour of the negative as the boundary of writing and reading.

His work reflects personal, social and creative concerns, always with the same working approach, at the level of vision. The story behind an image is not the goal but rather an occasion to gain knowledge from the lived experience.

He approaches a symbolic story in a conceptual and sentient way at the same time; a social story as the point of reference of a continuous war. What interests him the most is what happens behind the front lines -the subject comes after reaserch which stares at the core of the social evolution. Creatively themed to fashion, science and architecture. The sensibility of the world he observes imposes itself to the body of his work.

He persists dialectically, that the photographer’s way of viewing is the quality reference of visual language. The variety of the photographer’s themes connects at this point with the dramatic representations of life. It is realized that the visual arts are expressed with criterion the harmonious management of proportions of systems that they evolve. The visual art reality is tangible and involves qualitative reasonable approaches in order to create a new reading in matter.

What motivates the artist in order to achieve a work is a natural instinct and a metaphysical intention to meet the internal light which feels as an intimate relationship. As an observer who experiences and appreciates the grace of incarnation and translates into icons the phenomena of existence.”