Panayiotis Lamprou was born in Athens, 1975, with origins from Kallithea, Filiata, in Thesprotia. In 1998 he was introduced to history and aesthetic view of photography at the Photography Circle in Athens. In 1999 he continued his studies at the CRAF (Center of Reasearch and Archival of Photography) in Spilimbergo, Italy. In 2004 he became a member of the Chamber of Fine Arts if Greece. Panayiotis Lamprou lives in Athens.



2010 Second prize winner at the Taylor Wessing Photographic Portrait Prize, (Portrait of my British Wife), National Portrait Gallery, London.



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.”


THESIS "Once upon a time in the now"

Illustration is a characteristic/property of memory. It projects the depiction as a necessary expression and it transforms it into visual speech to narrate characteristic trails of a symbolic era/story. We tell stories that empower human genius and justify pain; the primitive pain for our relationship with void and the connection of the soul with the matter.

Human as a being presents a special quality in natural world. He has the right to represent life. The first depictions were human illustrations of those who lived in the caves of the earth; the first reflection of our natural presence in existence; the first narration of a story, the first construction/creation of a myth, the first political act and the religious feeling was established.

This reading is important for the way an image defines the natural presence of human and serves the constant transformation of representation that the human being is undergoing /experiences as a reference symbol. The position of body in space reflects the reaction to the stimuli of life. And space as a physical construction is experienced emotionally. Their interaction matures our feeling of consciousness.

In the art of photography realism expressed a transcendent conflict  - what the Indians referred to as “the stealing of the soul” – which is nothing else but the fulfilling of the void. It is the reflection as a literal expression in human presence and in the form that changes and is apprehended, with the quality of speech each of us possesses. Perceptively, it exposed the pluralism of expression and highlighted the moment as the point-picture where the soul interacts with the matter.

This primitive need of communication constantly creates an image that with its aesthetic power can fulfill the void. The effort is to define anew a view in our surrounding space and create expressively a perceptive sensitivity and thrill.


ΘΕΣΗ "Μια φορά και ένα καιρό στο τώρα"

Η εικονογράφηση είναι ιδιότητα της μνήμης. Προβάλλει την απεικόνιση ως αναγκαία έκφραση και τη μετατρέπει σε οπτικό λόγο για να αφηγηθεί, χαρακτηριστικά ίχνη μιας συμβολικής ιστορίας. Λέμε ιστορίες που εμψυχώνουν την ανθρώπινη διάνοια και δικαιολογούν τον πόνο Τον αρχέγονο πόνο για τη σχέση μας με το κενό και τη σύνδεση της ψυχής με την ύλη.

Ο άνθρωπος ως οντότητα παρουσιάζει μια ξεχωριστή ιδιότητα στο φυσικό μας κόσμο. Έχει το δικαίωμα να αναπαριστά τη ζωή. Οι πρώτες αναπαραστάσεις ήταν οι εικονογραφήσεις του ανθρώπου που έζησε στις σπηλιές της γης. Το πρώτο αντικαθρέφτισμα της φυσικής μας παρουσίας στην ύπαρξη Η πρώτη αφήγηση μιας ιστορίας, η πρώτη κατασκευή του μύθου, η πρώτη πολιτική πράξη και το θρησκευτικό συναίσθημα κατοχυρώθηκε.

Αυτή η ανάγνωση κατανοείται ως σημαντική για τον τρόπο που η εικόνα καθορίζει τη φυσική παρουσία του ανθρώπου και εξυπηρετεί ως σύμβολο αναφοράς το διαρκή μετασχηματισμό των αναπαραστάσεων που βιώνει ο ίδιος. Η στάση του σώματος στον χώρο απεικονίζει την αντίδραση στα ερεθίσματα της ζωής. Και ο χώρος ως φυσική κατασκευή βιώνεται συναισθητικά. Η αλληλεπίδραση τους ωριμάζει τη συνειδητή μας αίσθηση.

Στη τέχνη της φωτογραφίας ο ρεαλισμός εκδήλωσε μια υπερβατική αντιπαράθεση – αυτό που οι ινδιάνοι έλεγαν “κλέψιμο της ψυχής” - δεν είναι τίποτα άλλο παρά η πλήρωση του κενού. Είναι το αντικαθρέφτισμα ως κυριολεξία, στην ανθρώπινη παρουσία, και στη μορφή του που μεταβάλλεται και διαπιστώνεται με την ανάλογη ποιότητα λόγου που κατέχουμε. Αντιληπτικά εξέθεσε τον πλουραλισμό της έκφρασης και ανέδειξε τη στιγμή ως το σημείο-εικόνα που η ψυχή συνδιαλέγεται με την ύλη.

Αυτή η αρχέγονη ανάγκη επικοινωνίας, διαρκώς δημιουργεί μια εικόνα που θα μπορέσει με την αισθητική της δύναμη να ικανοποιήσει το κενό. Η προσπάθεια είναι να ορίσει εκ νέου μια θέαση στον χώρο που μας περιβάλλει και εκφραστικά να μας δημιουργήσει αντιληπτική ευαισθησία και συγκίνηση.