你可以在跌倒后多少次再站起来？幸运的是，隧道的尽头有光，但解决这种混乱必须从内部开始。这称为重构现实，这是一个过程。这本质上是关于无处不在的变革需求，更重要的是，找到那条出路。
How many times can you stand back up after falling? Thankfully, there is light at the end of the tunnel but remedying this mess has to come from within. It’s called Reconstruction of one’s Reality and it’s a process. It’s essentially about the omnipresent need for change and, more importantly, finding that way out.
你可以在跌倒后多少次再站起来？当然，可以反驳说，并非每一次跌倒都相同。有些跌倒仅仅轻微刮伤了人的日常生活表面，因此，恢复通常是快速且无关紧要的。然而，也有一些非常严重的跌倒，对我们的打击可能要大得多。此外，它们的发生机制也可能不同：在某些情况下，它们可能是显而易见、直接和突然的，而其他情况则可能是隐藏的和欺骗性的，因此更难以处理。不管它们的性质如何，跌倒都可能带来令人气馁的影响，有时可能让生活整体看起来像是徒劳的练习。它们总是倾向于模糊那些本可以清晰区分的界限，如真与假、对与错，以及在极端情况下，真实或虚假。幸运的是，隧道的尽头有光，但解决这种混乱必须从内部开始。这称为重构现实，这是一个过程：识别松散的末端，用辨别力建立新的联系和一套新的镜头！这本质上是关于无处不在的变革需求，更重要的是，找到那条出路。
How many times can you stand back up after falling? Then again, one could argue, not every fall is the same. Some barely scratch the surface of one’s daily routine and, thus, recovery is usually fast and inconsequential. However, there are also some really nasty falls, which can take a much heavier toll on us. Further, their onset mechanism may also differ: in some cases, they can be obvious, straightforward and precipitous, while others can be cloaked and deceitful, hence harder to be dealt with. Regardless of their nature, falls can carry such a demoralizing effect that may, at times, make life altogether appear to be an exercise in futility. Invariably, they tend to blur the otherwise clearly distinguishable boundaries between true and false, right or wrong and, in extreme cases, real or fake. Thankfully, there is light at the end of the tunnel but remedying this mess has to come from within. It’s called Reconstruction of one’s Reality and it’s a process: identifying loose ends, establishing new connections with discernment and a new set of lenses! It’s essentially about the omnipresent need for change and, more importantly, finding that way out.
我出生于1968年。我目前居住在希腊雅典。我的作品在多个艺术场馆和机构展出过，比如梅利纳·默库里文化中心（Melina Merkouri Cultural Center）、特洛格利翁美术基金会（Teloglion Fine Arts Foundation）、贝纳基博物馆（Benaki Museum）出版物、拜占庭和基督教博物馆（Byzantine and Christian Museum）、创世纪画廊（Genesis gallery）、雅典娜设计工作室（Athena Design Workshop）、光明之眼画廊（Luminous Eye gallery）、回到雅典国际艺术会议（Back to Athens International Art Meeting）、雅典研究中心（Athena Research Center）、色雷斯的德谟克利特大学（Democritus University of Thrace）等。我的第一次展览在2003年2月于Hororoes剧院举行，项目名为“A not at all Wooden Language”。我参与了世界各地众多的摄影项目，例如在许多非洲国家（参与了联合国儿童基金会和私人国际公司支持的项目）、世界上的野生动物区域（如哥斯达黎加Finca Bellavista的丛林）、与坂本龙一在日本的合作，以及许多其他国家的项目。我钦佩并从亚历山大·冯·洪堡的开创性自然主义工作中汲取灵感——特别是他在逆境中探索和研究世界的无尽渴望。我的摄影作品受到人类灵魂和心智的启发。
I was born in 1968. I’m based in Athens, Greece. My work has appeared in several Art venues and Institutions, such as the: Melina Merkouri Cultural Center, Teloglion Fine Arts Foundation, publications of the Benaki Museum, Byzantine and Christian Museum, Genesis gallery, Athena Design Workshop, Luminous Eye gallery, Back to Athens International Art Meeting, Athena Research Center, Democritus University of Thrace and other. My first exhibition took place at the Ηororoes Theatre with the project ‘A not at all Wooden Language’, in February of 2003. I participated in numerous photographic projects all around the world, i.e. in many African countries (in projects backed by UNICEF and private international companies), in wildlife areas of the world (such as the jungle at Finca Bellavista in Costa Rica), in Japan along with Ryuichi Sakamoto and in numerous other countries. I admire and draw inspiration on the pioneering naturalist work of Alexander von Humboldt —particularly for his inexhaustible desire to explore and study the world in adverse conditions. My photographic works are inspired by the human soul and mind.