Interview with Christos J.Palios; published in our print edition #19

Christos was raised as a first-generation Greek-American, a son of immigrants. These two distinct cultures forged his personal and creative evolution.

Christos was raised as a first-generation Greek-American, a son of immigrants. These two distinct cultures forged his personal and creative evolution.

Socioeconomics, culture, history, and architecture fuel his intellectual and emotional intrigue, while the artist’s photographic work probes themes of identity, connection, nostalgia, and isolation. He says about his practice:

The nexus between an evolving sensibility and a dynamic world is the will to perpetually explore new terrain. We live in hurried and frenetic societies broadcasting endless stimuli, inundating our waking lives and shaping our beliefs—an exponentially-hijacked 21st-century mindset. This endless tangle of information obligates us to discern truth from fiction, tasteful vs. boilerplate. Photography’s remarkable capacity to communicate ideas and narratives inspire me to embody insight and intent within the frame. My ambition is to make relevant and stimulating photographs reflecting evolving perspectives, while expressing ingrained, palpable awareness.

The artist’s springboard originates in the visual arts, consummated by a BFA from the University of Maryland. Since 2006 he has pursued fine-art professionally, having collaborated with a diverse array of professionals, including designers, consultants, advisors, dealers, and galleries in residential and corporate arenas nationwide. Christos is represented by and works with galleries throughout the US. He is a Sondheim Prize and Critical Mass finalist and was shortlisted for the Athens Photo Festival. His photographs have been exhibited at venues such as Baltimore Museum of Art, Grimaldis Gallery, Candela Gallery, Tew Galleries, Isabella Garrucho Fine Art, Blue Sky Gallery, Houston Center for Photography, Center for Photographic Art in Carmel, Colorado Photographic Arts Center, among others. Christos’ work resides in private and corporate collections throughout the country and abroad. He has also been published in Musée Magazine, Prix de la Photographie de Paris, Lenscratch, F-Stop Magazine, International Photography Awards, BmoreArt, and the Baltimore Sun. [Official Website][Printed Edition][Digital Edition]

‘Conversations’, explores your experience of being raised as a first-generation son of Greek Immigrants with traditional European values, in America. The images are inspired by the bonding and togetherness fostered by your mother’s insistence on home-made food, shared with family at a ritually dressed table whatever the occasion. Can you introduce us to this work?

Yes! For my family, food is as much a means for bonding as a form of sustenance. I consider the dining table a visual expression of a universal language across cultures. When my mother summoned us for dinner, her tone exemplified the revered ritual about to ensue; as she continues the tradition today, she cherishes its preparation, the gathering, and the fulfilment of this familial role. 

The project poses interesting questions about a new etiquette of exchange, consisting of intermittent conversation, interspersed with disengagement into solitary smart-phone bubbles. Can you expand on this and tell us a bit more about what are you trying to say with this series of images?

In good and also debatable ways, how we think about and engage interactively has certainly (and irreversibly) changed with the mere knowledge of a smart device in our pocket. Our confidence with, reliance on, and addiction to these electronic facilitators has influenced many facets of our lives; staying updated and informed, keeping in touch with friends and family, maintaining a schedule, are all examples of tasks which have shifted in urgency and frequency. Whether alone or with a group of friends, during a train ride or a flight, or even during a brisk walk, how often do you feel a perceived need to “check in?” Suffice it to say, for most I believe this distracting shift is notable, even during joyful moments like those depicted in Conversations. Whereas this new etiquette of exchange has altered our approach to communication, we have adapted into it as a new layer of engagement. 

Your photos are so sensual and inviting – full of life, but also still, somehow frozen in time. Are they about slowing down? 

Thank you. I’m happy you think this because it was my hope people would also sense dynamic qualities within these compositions, while also finding waypoints of cultural relation. Yes, they certainly are about slowing down, about contemplating our relationships and the inevitable passage of time, especially in relation to one’s movements in an increasingly digitized and fast-paced society. As a creative individual who travels and stays engaged frequently, setting thoughts and ideas on pause in an effort to appreciate value in the present can be challenging. The genesis piece, Catharsis, was a real-world experience one autumn evening which sparked the series; it thrust me into a mindset of meditation about my own sense of mindfulness, of staying present in daily life. 

You mention that you are inspired by Dutch Golden Age Still Life paintings. I see this in some of your other projects too. Tell me how this came to be such an influence in your practice. 

The Dutch Golden Age is a fascinating era of immense creativity and exploration as artists sought deeper understandings of the natural world, including concepts of permanence and ephemerality. Paintings from the period depict idyllic and hyper-realistic subject matter indicative of intricate studies of color, shape, texture, and light, beauty and symbolism, indulgence vs despair, and mortality vs life. In tandem to those allegorical expressions, they are also time-capsules from a former period. In the same respects, in hindsight perhaps, one of my hopes with Conversations is to promote a looking-back, a reflection of a bygone era in-the-making of our own hijacked, always-on culture of rapid communication and sense of urgency. 

I was drawn to the strong aesthetic in your images. Do you think the purpose of an image is to create meaning or feeling? Do you think that visual art can stand alone or is the written narrative important?

This is an intriguing question to ponder. Art and interpretation can be highly subjective planes where I believe intention rests on a separate layer altogether. For me, feeling precedes [and can lead to] meaning, and art which evokes both can be profoundly fresh and elucidating. Yes, visual art can certainly stand alone, however a project statement is a powerful accompaniment to support a creative individual’s intentions, if not also serve as potential validation for a viewer’s interpretation. Ultimately, this may forge a nexus of discourse and deeper connection with a wider audience.

How did this project begin? Was it developed over time, or did you know exactly what it would look like from the start?

The project-series largely began during dessert with an uncle on my father’s side in a remote Grecian village. Great conversation accompanied emphatic hands flying in the air, along with such culinary pleasures as hand-picked fruit from backyard trees, locally-made cordials and wine, fresh fig “spoon sweets”, and cracked walnuts. The unexpected appearance of my older uncle’s Siemens phone on the table was a sudden “there’s-no-going-back” fusion of the old and the new—I felt strongly about that serendipitous realization. 

Talk me through your process. Are these staged scenes from memory of your family suppers or actually taken mid-meal? They definitely make me want to come and eat at your table! Can you talk me through the making of the images.

These are authentic meals shared with family and friends, photographed at an inspired impromptu point in time. Considering the premise of my narrative, I certainly did not wish the photographs to be interpreted in any way as curated food images, and I’ve noticed people do connect with and think about them quite differently. After I photographed several pieces, people in my circle who knew about the project were aware of the potential we’d stop to capture the moment. Enthusiasm by guests and hosts alike motivated me further, and of course customarily having my equipment with me helps keep the potential available and fresh. 

My setup comprises a raised tripod with my camera cantilevered and floating above the meal surface. A stool, chair, or ladder helped elevate me enough to properly compose and focus. As I’m selective about composition, I did make necessary minor adjustments of objects within the frame, including some occasional additions and omissions. Host and guest patience (and entertaining input) were always appreciated! 

‘Conversations’ was started several years ago and is ongoing. How has your work developed over the years? 

Yes, Conversations began in late 2014. I’ve since pursued a number of new subjects and narratives, though I haven’t stopped thinking about the series. After all, we continue to eat deliciously—and, fair warning if you were to join, boisterously—while celebrating life among its hustle and bustle. In terms of evolution, I’m open to capturing new shared memories in the future, especially for the experience of ‘breaking bread’ in tandem to technology’s encompassing development. 

Have you thought about making a book or an exhibition?

Conversations was in a solo exhibition at Blue Sky Gallery in Portland, Oregon, during the summer of 2019, among other group shows. It was a beautiful space with high ceilings and ample light where I was able to display large pieces. Christopher Rauschenberg and his team were wonderful to work with and very receptive to the work. Yes, I have considered a book, although time is certainly a component to factor in that meticulous endeavour.

Any memories stand out in the making of this body of work?

Many! One memory in particular which comes to mind involves the largest table I’ve photographed for the series, a diptych called Fellowship. This took place in Denver, Colorado, for Thanksgiving 2018 with a wonderful group of about 18 people, including our two gracious friends as hosts in their beautiful, intimate home setting. The best part was their fabulous guests’ familiarity with the series and the potential I’d record it; as a result, they enthusiastically welcomed an indirect presence in the photograph. Another memory took place in the winter 2019 (London Forward) just before some dear friends temporarily departed the United States for a three-year interval in London. For years we’ve attended their wonderfully-hosted, fun, and thoughtful dinners and we are happy to now see them back state-side. Much like in the first example, their guests were also open and keen about being a part.

What was your experience with the pandemic and lockdown. Did it make you feel more, or less connected? 

I’d confidently say a bit of both. After the initial serious apprehension and detachment receded during a seemingly paused arc of time, the idea of focusing inward somehow personally proved cathartic. On the other hand, as someone always on the go, the limitation of external movement definitely gave daily life a bizarre, alternative perspective. As an aside, I say this with sensitivity and respect for many on front-line levels who may not have had the luxury of home quarantine. Like a lot of people in isolation, my lady and I began spending greater time together delving into simple, fun activities we had wanted to revisit more often, which cultivated a sense of safety and warmth among limited outside connection—puzzles, board games, culinary experiments, and reading. With preclusion of travel and customary interactions, this led to a new series called Isolation Games, a representation of our daily experience upon our coffee table as a direct result of the health crisis.

Is social media an important part of your practice?

Increasingly within the past few years, yes. Instagram predominantly has become a useful and fun sounding board for concepts and news about my work. I’m connected with fellow artists, interior designers, consultants, collaborators, clients, family and friends throughout the world. What I have enjoyed most about it is introducing new photographs and sharing production and install pics.  

What is your view on the increasing number of Open Calls available to artists?

Calls to entry are paramount for sharing and garnering exposure of one’s work. Of course, not all are opportune or ideal. In an ocean of open calls promising exposure to industry professionals, monetary awards, and recognition, one must not only be selective from a budgetary perspective, but also prudent when choosing to which to apply based on jurors and their backgrounds. This is where being discriminate and nuanced helps.

What do you turn to when you are feeling uninspired?

At times I tend to dwell on thoughts I can’t resolve, despite knowing I’m better off temporarily isolating the issue until I’m in a more favourable head-space, or can summon adequate courage and clarity to see through it. At the end of the day, close friends and family are hands-down my go-to in times where I feel rudderless and uninspired.

What do you like to do outside of photography? How do your outside interests inspire your photography?

I’m an avid hiker and I deeply appreciate natural spaces. Quality time with friends and family are very special components of my life. I customarily travel to Greece late summer into early autumn to visit family throughout the country. Much of my work is generally rooted in and informed by my interests, such as economics, history, culture, and architecture. Something else came to mind with this question: many people ask how I can go anywhere without my camera, especially during more distant and longer stretches away from home-base. My answer simply is that I don’t leave without it because it is a metaphorical and intellectual extension of my vision, where the feeling of being unprepared to preliminarily study a subject just isn’t comfortable. That said, although a lot of my work requires research and is planned in advanced, I do put it away for necessary resets.

What advice would you give to your younger self?

Listen, observe, live and breathe slower, respect time’s passage. Nostalgia is a sentiment I occasionally experience formidably, not from a space of regret or a crippling maudlin mindset, but one of deep gratitude and contemplation of my roots and of the key people throughout life. I’ve grown to deeply respect a sense of place within one’s general emotional and psychological upbringing, which indelibly shapes core beliefs and perspectives. At times I daydream about visiting certain people from my past to more closely observe their way of life, the manifestation of their beliefs and efforts, with the idea I’d gain a deeper appreciation of them, their humanity, the decisions they made, and their own evolution into how I know them today! The entire fascination is predicated on garnering a more astute awareness of the world and these select people during my formative years, to give back to those I love and to perhaps live a better self. It’s quite a beautiful thought and this wonderment leads to a deeper gratitude and consciousness of life’s ephemerality.

What is next for you?

Thank you for asking! I’ve been keeping quite busy with two fresh and exciting series. Coincidentally, both comprising different forms of architecture; one examines specific human-constructed interior spaces, the other geologically-formed rooms by Nature’s hand through millions of years. The first is titled Architecture of Gilded Dreams, which explores the decorative expression, social-cultural impact, and compelling interior architecture of late 19th – early 20th century American movie palaces, vaudeville theatres, and concert halls. Another is Resplendence of Antipodes, a journey deep underground into some of the largest, naturally “decorated” caverns. This work entails research and location permission for shoots, making planning and patience crucial components. Despite the time it may require, I’ve been grateful with people’s reception of my creative intents and passion for these themes. 

Thank you for spending some time with us and sharing your thoughts. It has been a pleasure meeting you.

Likewise, Mieke, thank you. I appreciated the opportunity to speak with you about Conversations. You asked meaningful questions! 

Mieke Douglas

Mieke is a Dutch and Canadian Fine Art Photographer, living in London. She is known for her atmospheric lighting and surreal perspectives. Her work is described as moody, almost painterly, with an underlying sense of unease. She has recently won several major awards including: International Photography, Chromatic, Minimalist, Julia Margaret Cameron, Budapest International and British Photography Awards. Mieke was also Shortlisted for the Alpha Female Award at the Sony World Photography Awards and for the Association of Photographers Emerging Talent Awards. Her work is held in private collections and has been published and exhibited internationally, including at the Royal Academy of Arts in London. She has recently had her first Solo Show, ‘STILL”, in London. Mieke has just won Open Image Barcelona and will have her ‘White Horses: Covid Dreams’ series exhibited in Barcelona this Autumn and will be exhibiting her latest series ‘Lost Society | Looking In’ at the Head On Photo Festival this November in Sydney. She is an ArtCan Artist and a member of The Royal Photographic Society, The Association of Photographers, London Independent Photography and Photofusion.

More Stories

Dried Fish, Juicy Business by Steven Kruit

Dried Fish, Juicy Business by Steven Kruit

Despite the very strong smell, dried fish are considered a delicacy in Bangladesh, the south asian nation next to India. Bangladesh, located at the Bay of Bengal, has the longest stretched Sea Beach in the world and fishing is a traditional way of food supply and economic income. Along the shore there are many small fishing villages dotted along the beach. 
Maximilian Chini; Venice and its canals..

Maximilian Chini; Venice and its canals..

How many years spent in this city. By now I know her well: years of work for Caffè Florian and its vernissages; the oldest historic café in the world, opened in 1720, in the years of maximum splendor of the Venice carnival…
AImagine: the new Era of making Art ?

AImagine: the new Era of making Art ?

We are experiencing a turning point; indeed, I would say a revolution in the artistic disciplines, especially those relating to visual art; it is the beginning of a new Era in which the current paradigms will no longer be valid, in which reality will be questioned or modified through alternative realities.

Portrait Photography Awards

We invite you to participate in the first edition
of the Portrait Photography Awards. We are looking
for the best portrait for this year, 2023.

Our call is open to any artistic interpretation of portrait photography.

DEADLINE | FRIDAY, MARCH 31, 2023

PHOTO BY © JOSE GIRL
Terra Mater – Ode to My Family  by Marco Castelli

Terra Mater – Ode to My Family by Marco Castelli

Words are not inherently suitable to embrace any even blurred concept of time, and beside all speech being made nowadays around the sense of family, its true nature belongs to the undetectable trace we leave through centuries, and to our relationship with time itself.
The magical hidden world by Georgi Georgiev

The magical hidden world by Georgi Georgiev

The magical hidden world project was selected and published in our print edition 23. These photos are one of my personal best from the past few years. Most of them are from one place where I spend every spare moment to take photos.
Sleepless by Rebecca Sexton Larson

Sleepless by Rebecca Sexton Larson

Growing up I always had an affinity with the night. It was when I did my most productive work, alone in my bedroom free from noise and distractions. I would find comfort in the subdued light and quiet stillness, losing a sense of time and being absorbed in the moment of creating art.

Featured Stories

The exposed city by Sevil Alkan

The exposed city by Sevil Alkan

Taking photography by mobile phones created a new trend by changing the border and direction of the photography
Window Project by Davida Carta

Window Project by Davida Carta

This project was not born as a cohesive body of work. In fact, it surfaced from an editing process during my first semester of residency at the New Hampshire Institute of Art, where I am currently studying to get my MFA in Photography.
Community Swing by Stephanie Gengotti

Community Swing by Stephanie Gengotti

They walk among us, but they are not like us. They live among us, but they don’t live like we do. They have chosen to “live” in the legendary dual decade of the 1940s and 1950s, the years of gospel, R&B, swing, be bop and rock n’ roll.
architectural photography of Julia Anna Gospodarou

architectural photography of Julia Anna Gospodarou

Architect and International Award-Winning B&W Fine Art Photographer, Julia lives in Athens and has a passion for both architecture and photography, doing them with the same dedication and joy.
To The Northwest by Giacomo Infantino

To The Northwest by Giacomo Infantino

His research is based on the in-depth narrative of those places in my province, those peripheral sites to which he has devoted his attention and constant attendance.
Painting with light by Renee Robyn

Painting with light by Renee Robyn

My images come from a variety of places of inspiration. Some of them are from meeting with a client, seeing their energy and how fascinating they are.
https://www.dodho.com/wp-content/uploads/2023/01/bannerpr.jpg

We invite you to participate in the first edition of the Portrait Photography Awards. Our call is open to any artistic interpretation of portrait photography.

https://www.dodho.com/wp-content/uploads/2020/12/BAnImage.jpg

ImageRights provides intelligent image search and copyright enforcement services to photo agencies and professional photographers worldwide.

https://www.dodho.com/wp-content/uploads/2022/09/mono2022.jpg

The best 100 images along with the winning images published in the yearly book “Monochromatic – Best Photographers of 2022”

https://www.dodho.com/wp-content/uploads/2022/12/banner24.jpg

Call For Entries #24 | After 23 editions and more than 100 published photographers, our print edition has proven to be a simply effective promotional channel.

Self-portrait project : Exposure by Jaqueline Vanek

Self-portrait project : Exposure by Jaqueline Vanek

Self-portrait project focused on the transformation of oneself, against the prejudices of the general society towards freedom of expression and to be who one really is without hiding before anything.
Magical macro world by Georgi Georgiev

Magical macro world by Georgi Georgiev

I love street and travel photography but my big passion is macro photography. I am spending all the time i have in nature, capturing the amazing macro world.
Haiti – The Ongoing Struggle by Giles Clarke

Haiti – The Ongoing Struggle by Giles Clarke

The last 230 years of Haiti's history, from the days of Napoleonic slavery and the ensuing 'black revolution', is a struggle etched deep into the soul of the Haitian people. In 1804, after years of colonial fighting and over 120,000 slave deaths
Street photography by Joseph Atwere

Street photography by Joseph Atwere

My interest in still photography began in 2007. I bought my first camera which was a Canon 350D whilst on vacation in the US. I had quite a steep learning curve and spent many hours trying to get my head round the basics such as learning about f-stops etc.
Three Chapters Of Illumination by Ann George

Three Chapters Of Illumination by Ann George

This series symbolizes a metaphorical journey towards liberated living.  The wolf within the work represents allegorically fear and the temptation to be driven by it allowing its control over our lives.
Urban sprawl, emptiness by Emmanuel Monzon

Urban sprawl, emptiness by Emmanuel Monzon

This project was selected and published in our print edition 19. Deserts of the American West and their poetic and chaotic processions of motorway interchanges, cities without centers, residential zones without inhabitants.

Trending Stories

Fear of Dementia by Annette Golaz

Fear of Dementia by Annette Golaz

Dementia runs in my family. My grandmother was demented, and now my mother is too. Only recently we had to finally move her to a care home. To watch her brain slowly deteriorate over the last decade has been heartbreaking and confusing.
SKREI – IL Viaggio by Valentina Tamborra

SKREI – IL Viaggio by Valentina Tamborra

Valentina Tamborra works and lives in Milan. Since the beginning attracted by the concept of borders: “maybe because my origins had to deal with a border, a limit a frontier.
Muharram festival by Debarshi Mukherjee

Muharram festival by Debarshi Mukherjee

The Muharram festival symbolizes the beginning of the new Islamic year. Muharram word is derived from the word ‘haram’ which means “forbidden”.People celebrate this as the first month of the twelve months of Islamic lunar calendar day when they see the crescent moon.
The inspiration of Vanessa Paxton

The inspiration of Vanessa Paxton

I have always been into art. I love to create and I would do anything to make a living doing something artsy. I cannot even stand the thought of having a regular 9-5 job. My hands are too idle.
Five minutes with Simon McCheung

Five minutes with Simon McCheung

I’m a self-taught Fine Art and Fashion photographer based in London, UK. I had started photography a little over a year ago and it has become an active hobby of mine.
Escape by Barbara Oliveira

Escape by Barbara Oliveira

There is a difference between what should be and what is. Often we find, in this human condition, an inexorable yearning to escape. To quote Housman "I, a stranger and afraid; in a World I never made"
The Sacred City, Varanasi by Indranil Aditya

The Sacred City, Varanasi by Indranil Aditya

Varanasi or Benaras, (also known as Kashi) in Uttar Pradesh is one of the oldest living cities in the world and one of the seven holiest places in india.
Generations by Karol Palka

Generations by Karol Palka

Fixed on the subjects of personal identity, memories and time in all his works, in this case Karol explores them through ancestral kinship, familial relations and age differences between generations.
My Hearth is An Animal by Katarzyna & Marcin Owczarek

My Hearth is An Animal by Katarzyna & Marcin Owczarek

Telling stories is a part of our fine art photography project based on surrealistic imagery. Our new series titled "My Hearth is An Animal" brings elaborate compositions combining human and animal elements.

Other Stories

stay in touch
Join our mailing list and we'll keep you up to date with all the latest stories, opportunities, calls and more.
We use Sendinblue as our marketing platform. By Clicking below to submit this form, you acknowledge that the information you provided will be transferred to Sendinblue for processing in accordance with their terms of use
We’d love to
Thank you for subscribing!
Submission
Dodho Magazine accepts submissions from emerging and professional photographers from around the world.
Their projects can be published among the best photographers and be viewed by the best professionals in the industry and thousands of photography enthusiasts. Dodho magazine reserves the right to accept or reject any submitted project. Due to the large number of presentations received daily and the need to treat them with the greatest respect and the time necessary for a correct interpretation our average response time is around 5/10 business days in the case of being accepted.
- Between 10/30 images of your best images, in case your project contains a greater number of images which are part of the same indivisible body of work will also be accepted. You must send the images in jpg format to 1200px and 72dpi and quality 9. (No borders or watermarks)
- A short biography along with your photograph. (It must be written in the third person)
- Title and full text of the project with a minimum length of 300 words. (Texts with lesser number of words will not be accepted)
This is the information you need to start preparing your project for its presentation
To send it, you must compress the folder in .ZIP format and use our Wetransfer channel specially dedicated to the reception of works. Links or projects in PDF format will not be accepted. All presentations are carefully reviewed based on their content and final quality of the project or portfolio. If your work is selected for publication in the online version, it will be communicated to you via email and subsequently it will be published.
Contact
How can we help? Got an idea or something you'd like share? Please use the adjacent form, or contact contact@dodho.com
Thank You. We will contact you as soon as possible.
Submission
Dodho Magazine accepts submissions from emerging and professional photographers from around the world.
Their projects can be published among the best photographers and be viewed by the best professionals in the industry and thousands of photography enthusiasts. Dodho magazine reserves the right to accept or reject any submitted project. Due to the large number of presentations received daily and the need to treat them with the greatest respect and the time necessary for a correct interpretation our average response time is around 5/10 business days in the case of being accepted. This is the information you need to start preparing your project for its presentation.
To send it, you must compress the folder in .ZIP format and use our Wetransfer channel specially dedicated to the reception of works. Links or projects in PDF format will not be accepted. All presentations are carefully reviewed based on their content and final quality of the project or portfolio. If your work is selected for publication in the online version, it will be communicated to you via email and subsequently it will be published.
Get in Touch
How can we help? Got an idea or something you'd like share? Please use the adjacent form, or contact contact@dodho.com
Thank You. We will contact you as soon as possible.