the Evros river forms a natural border between Turkey and Greece and has been the site of population exchanges.
It is illegal to photograph this river, unless a permission for birdwatching is obtained from the greek police, and still it allows to photograph only in a determined area.
I took those photos from the small train that from Marasia took me back to Orestiada.
Wednesday, 27 June 2012
Monday, 25 June 2012
maps-crazy!
having just purchased a map of cyprus I am studying it and trying to decide a possible path to follow.
i am also doing printouts in various sized from google maps and then sticking them all back together, trying to imagine the spaces and places in my head...
Friday, 22 June 2012
the road toward the border (Imatra, crossing Finland-Russia)
I went to Imatra by chance. I was booked to go to Italy for the Christmas Holidays, but as I left it too late to buy a return ticket those became way too expensive. So i took the cheapest flight out of italy: to Lapperanta, Finland. Which is not too far from the border. From there I reached Imatra, border crossing to Russia.
My half-finnish friend Dagmar came to meet me and kindly walked with me through the countryside near the border. It was raining heavily, freezing continuous rain. The roads very ice and it was difficult to walk. And as I had arrived in a cheap ryanair flight with no luggage, i didn't have a tripod. It was practically like photographing at night. So slightly underexposed images.
Those are my tests
My half-finnish friend Dagmar came to meet me and kindly walked with me through the countryside near the border. It was raining heavily, freezing continuous rain. The roads very ice and it was difficult to walk. And as I had arrived in a cheap ryanair flight with no luggage, i didn't have a tripod. It was practically like photographing at night. So slightly underexposed images.
Those are my tests
Monday, 18 June 2012
i was there! my first attempts.
Summer 2011, my first walk along a border.
Greece: I went from Thessaloniki to Orestiada, and from there to the Greece-Turkish border.
In Orestiada I told the hotel owner that I was walking to Turkey he looked at me as if I was crazy (perhaps i am?) and said "be careful. they are mongoloids on the other side. they are dangerous".
In a book I have read that along borders people inherit enemies.
From Orestiada I went by bus to a town called Kastanies. Due to the bad economic situation, busses and trains were working rather randomly in Greece, which made it very difficult to move around.
To reach Kastanies I had to cross a small river, the bridge had fallen down and no one fixed it. The locals apparently use a tractor to come across. I tucked my skirt in and I walked across somehow.
From Kastanies I walked to Marasia, the village closest to the border. By the time I got there, the sun was up and burning, not ideal for photography. I met a very old lady cutting woods with a huge axe and she posed for my camera.
I hardly met anyone else.
There is some kind of buffer zone so i was prevented from going close up to the border.
Later on I also went to the village of Phytio (were an old guy on the train back tried to kiss me. very weird situation) and Didymoteicho.
winter 2011- my second border walk.
from Imatra, Finland, I walked along the finnish-russian border. My good friend Dagmar Tolonen, walked with me.
Normally winter is snowy but dry in Finland. The week I was there it was pissing down with rain. We walked in the freezing rain, totally soaked. It was difficult to walk as the road was icy and slippery, and it was difficult to photograph due to the rain.
We knocked on doors of a couple of farms and no one answered. In one it was clear that someone was inside but did not open the door, two people walking in the middle of nowhere is rather suspicious.
Later, in a pseudo-italian restaurant in Imatra, we were racially abused by a drunk finnish man who believed we were russians. I found it very funny, cause I am blonde and many times I have been mistaken for russian or easter european. Dagmar, who is half finnish half irish, did not find it funny and told the drunk to get lost.
We stayed in a lorry-drivers motel. The owner told us he is Finnish but his cousins live on the other side of the border, in Russia, and he does a yearly visa to go and visit, so he also gets cheap petrol and cigarettes.
In both cases I didn't get to photograph as much as I wished, but were learning curves thathelped me reflect on where I want to take this project.
Greece: I went from Thessaloniki to Orestiada, and from there to the Greece-Turkish border.
In Orestiada I told the hotel owner that I was walking to Turkey he looked at me as if I was crazy (perhaps i am?) and said "be careful. they are mongoloids on the other side. they are dangerous".
In a book I have read that along borders people inherit enemies.
From Orestiada I went by bus to a town called Kastanies. Due to the bad economic situation, busses and trains were working rather randomly in Greece, which made it very difficult to move around.
To reach Kastanies I had to cross a small river, the bridge had fallen down and no one fixed it. The locals apparently use a tractor to come across. I tucked my skirt in and I walked across somehow.
From Kastanies I walked to Marasia, the village closest to the border. By the time I got there, the sun was up and burning, not ideal for photography. I met a very old lady cutting woods with a huge axe and she posed for my camera.
I hardly met anyone else.
There is some kind of buffer zone so i was prevented from going close up to the border.
Later on I also went to the village of Phytio (were an old guy on the train back tried to kiss me. very weird situation) and Didymoteicho.
winter 2011- my second border walk.
from Imatra, Finland, I walked along the finnish-russian border. My good friend Dagmar Tolonen, walked with me.
Normally winter is snowy but dry in Finland. The week I was there it was pissing down with rain. We walked in the freezing rain, totally soaked. It was difficult to walk as the road was icy and slippery, and it was difficult to photograph due to the rain.
We knocked on doors of a couple of farms and no one answered. In one it was clear that someone was inside but did not open the door, two people walking in the middle of nowhere is rather suspicious.
Later, in a pseudo-italian restaurant in Imatra, we were racially abused by a drunk finnish man who believed we were russians. I found it very funny, cause I am blonde and many times I have been mistaken for russian or easter european. Dagmar, who is half finnish half irish, did not find it funny and told the drunk to get lost.
We stayed in a lorry-drivers motel. The owner told us he is Finnish but his cousins live on the other side of the border, in Russia, and he does a yearly visa to go and visit, so he also gets cheap petrol and cigarettes.
images taken from google maps
In both cases I didn't get to photograph as much as I wished, but were learning curves thathelped me reflect on where I want to take this project.
Friday, 15 June 2012
current work
PRESENT WORK
Currently I am
in the process to develop a body of photographic work titled
” Borderlands: the edges of Europe”.
Over the past
year I have photographed in Imatra, border between Finland and Russia, as well
as on the border between Greece and Turkey.
Within my
practice borders are scrutinized in their overlapping configurations as a
political, geographical and cultural entities.
My practice investigates
trans-national and trans-cultural identities and their relationship with
concepts of home and belonging. My photographic images identify landscapes
striated by boundaries and borders, marking a series of thresholds crossed by
the photographer.
In my work you
sense the embodied presence of the journey through these territories: arrival,
stay and departure. The manner in which I articulate this experience is a key
part of the narrative, which outlines strategies of interaction with the
landscape and the people encountered during these journeys. The empirical
nature of these encounters is underscored by a detailed and complex
understanding of the social, cultural and ethnographic entities which each
territory presents.
my previous work
Over the past
two years I have focused on exploring the connections between identity and
landscape, using the photographic medium to investigate human geography and to
trace the human imprint on a territory.
“Undrawn Hours”
(2010, Arts Council England Sponsorship) is a photographic exploration of the
Skagi peninsula, northern Iceland: scourged by winter storms and drained by the
economic recession, this area is littered with abandoned farms and unused
summer cabins, broken sheds and decommissioned boats, a stark reminder of the
depopulation and decay of local farming and fishing industry.
This series
forms a lyrical depiction of the shift in human geography that has lead to the
abandonment of the countryside and decline of manual industry. The harsh
weather made human encounters rare and the structures that remain have become
relics abandoned in a sea of hay and ice, reminders of a past human presence.
Untitled, from the
series “Undrawn Hours” 2010. © Paola Leonardi
Untitled, from the series “Undrawn Hours” .2010 © Paola Leonardi
In September 2011
I was awarded the possibility of spending a month at ACOSS Artist Residency,
Yerevan, an experience that was supported by a grant from the Arts Council
England.
There I produced
the series “Neverland”, which focuses on the identities of Armenian
communities, with particular interest for portraying people in peripheral areas
of the country.
This series
forms an exploration of borders, in particular of the contended Nagrono
Karabakh. By combining artistic portraiture and photojournalistic reportage it
composes an exploration of identity, memory and territory and how these have
been shaped by history and events.
“Neverland”
uncovers the existence of wider identities, which move beyond language, family
and home as hybrid constructs; it explores the role of the family: in terms of
its many paradigms, as a genre in contemporary photographic practice, is also a
key metaphor in my work. The process of moving away from, or being away from
home and temporarily adopting other homes through extended familial experiences
is a significant motif that permeates my work.
Images:
“The Bearded Man” from the series “Neverland” 2011 © Paola Leonardi
“The Watermelon Man” from the series “Neverland “ 2011 © Paola Leonardi
busy and exciting times ahead!
having received positive responses from both the Government of the Republic of Cyprus and the UNFYCIP, I have been busy organising my photographic trip to Cyprus. I have made an application for funding to the Arts Council England with the intention to go to Cyprus twice, at the end of July 2012 and in December 2012-January 2013. Finger Crossed!
Monday, 11 June 2012
borderlands
please follow!
Paola Leonardi Photography
http://www.leonardiphoto.com
http://www.facebook.com/PaolaLeonardiPhotography
Paola Leonardi Photography
http://www.leonardiphoto.com
http://www.facebook.com/PaolaLeonardiPhotography
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