The Interval of Unreason begins with an image found in my late father’s archive, remains of the tainted memory of an idyllic romance on the Greek island of Patmos, followed by my extended stay on the island, during the lockdown.It is there where I begin to unravel the secret stories of my father’s past as a sailor and adventurer of his time, while deconstructing the famous history of Patmos as the ‘Island of the Apocalypse’, the place from where infernal visions of mankind’s ultimate downfall sprang, inspiring Saint John, to write the Book of Revelation, the final book of the New Testament.

In a vortex of clouds, shadows, starry skies and rushing wind, the island turns into a darkling site where the phantoms of imagination, personal loss and historic elegy occupy a transitional zone between the sublime, the cosmic and the solemn. It gradually becomes the roaming topography for composing a story ruled by desire, terror and imagination, turning the archival figures into the fugitive characters of a fictional tale, in the fascinating realm of time’s absence.

While forming this body of work, I have been looking into how photography can conjure memories that belong in fantasy, in eidetic recollection and some ontological reality, not in lived experience, producing images that avoid becoming descriptive and literary but integrate and complement the plot of a story, grasping the complexity and tension to anticipate an artistic vision of reality, a vision that is never far from illusion.

In its own unique ways, the archive becomes a site that is historically and hermeneutically transformed; a place where amnesic memories are recorded. Borrowing symbols and interpretations of different timelines and histories, I respond to an eternally deferred disaster, as seen through its multiple temporalities and discrete personal and collective stories.