The photographer who loves buildings, geometry and the imaginative.

Chronis Spanos

Architectural illusions

Text: Stephanos Tsitsopoulos || Photographs: Chronis Spanos Archive

First, he pinpoints the space, then he scans it, isolating architectural details, photographs it and produces retrofuturistic images – art works, reminiscent of Stanley Kubrick. It’s the way Chronis Spanos handles his passion for architecture, transforming it into a voyage beyond the real, in places of boundless possibilities.

«I started off in Thessaloniki, my hometown. My first personal exhibition was at the city’s Archaeological Museum and featured a project of photographs linchpinned on the architecture of Thessaloniki’s five major museums, along with a number of ensuing visual artworks. Then another solo exhibition followed, featuring  shots exclusively of the Telloglion Foundation’s premises. The next stop was at Abu Dhabi where Aldar, the United Arab Emirates’ leading property development company, commissioned me to photograph 15 of its building structures and deliver visual artworks from my own perspective», is how Spanos describes his course in art to date.

Constructions, shapes, axes, these are some of the elements that intrigue him into conceptualizing his own unique art form, forming a personal and imaginary universe where «anything goes, there are no rules!»

His tool is photography, in various formats: «I’ve created art with a compact camera, I’ve used my cell phone, I even work with DSLR and mirrorless cameras. My work has been imprinted on a plethora of materials, such as aluminum,  photographic paper, canvas prints resembling art, acrylic paintings.»

All the way from the East, Spanos crossed the Atlantic and went to Manhattan, New York, where he participated in an art exhibition organized by John Jay College, featuring works by a group of artists from various parts of the world exploring the destruction of historical monuments of cultural heritage.

“I study the creations, the individuals behind the stated, their work in its final form. Then I take it from there and add my own touch aiming for the imaginary, the fresh, perhaps even the dream-likeness in the avant-garde, unreal, surreal sense.»