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Photography (MA)

Ioanna Sakellaraki

Ioanna Sakellaraki (b.1989) is a Greek artist based in London. She is a graduate of photography, communications and cultural studies. 

She was awarded with The Royal Photographic Society Postgraduate Bursary Award 2018 and was named Student Photographer of the Year by Sony World Photography Awards 2020.  

In 2019, she was the recipient of the Reminders Photography Stronghold Grant in Tokyo and the International Photography Grant Creative Prize.   

Ioanna was recently selected for the Belfast Exposed Futures Artists 2020 funding and mentoring programme.

Nominations include: the Inge Morath Award by Magnum Foundation, the Prix HSBC, the Prix Levallois an d the Prix Voies Off. After obtaining a BA in Communications and Media, a Graduate Diploma in Photography and an MA in European Urban and Cultural Studies, Ioanna will graduate from an MA in Photography at the Royal College of Art in 2020.

Recent shows include: International Photography Exhibition, Royal Photographic Society, Bristol (2020), Festival Circulations, 104, Paris (2020), Les Rencontres de la Photographie, Palais El Badi, Marrakech (2019), The Truth in Disguise, GESTE Paris (2019), La nouvelle génération documente, Galerie Le Réverbère, Lyon (2019), The Photography Prize, Argentea Gallery, Birmingham (2019), Photo Israel, Azrieli Sarona, Tel Aviv (2019), Athens Photo Festival, Benaki Museum, Athens (2018), Kolga Tbilisi Photo, Artarea Gallery, Tbilisi (2018).

Contact

+44 7706 009345

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On Fragment, Rupture and Encounter

Degree Details

School of Arts & Humanities

Photography (MA)

Women made of frozen shadows resembling dry mud on a wall

Sunshine pacing rhythmically where spring used to slaughter her flowers

Violets turned into funerals devoured by bees

Groaning over a slice of marble

I hung my blood on a tree

And I waited

In the darkness of my chair, a minimum cloud paid me a visit

Raining swollen pomegranates on the screaming soil.

My photographic research started evolving four years ago, when the death of my father sparked a journey back home and the exploration of traditional Greek funerary rituals. Portraying my mother as a mourning figure within the social and religious context of my country, I began to slowly unravel a personal narrative of loss interweaving fabrications of grief in my family and culture. Endeavouring to further understand my roots, I expanded the scope of my research on the collective mourning and ritual laments of the last communities of professional mourners in the Mani peninsula of Greece. 

In the crossroads of performance and staged emotion, I aim to look at how the work of mourning contextualises modern regimes of looking, reading, and feeling with regards to the subject of death in Greece today. Making a work about grief requires a journey through memory and memory loss. In a way, these images work as vehicles for mourning perished ideals of vitality, prosperity and belonging, attempting to tell something further than their subjects by creating a space where death can exist. Greece is a constant inspiration and encounter in this work, but the way is depicted is imagined. It is like the idea of the homeland being this place one knows outside of memory, a land of curiosity where death is an encounter through family, religion, mythology and the self.

Nyx (the night), 2019 — 50x50 cm, Archival pigment print, Hahnemühle Photo Rag 305 gsm, (15 mm tulip wood frame, low reflective glass), Edition of 3+ 2 AP

Moirologia (fate songs), 2018 — 50x50 cm, Archival pigment print, Hahnemühle Photo Rag 305 gsm, (15 mm tulip wood frame, low reflective glass), Edition of 3+ 2 AP

Memories of a journey, 2020 — Image from my father's archive, Japan, 1954, 31x26 cm, Dye-sublimation printing on organza fabric, integrated hand-stitch embroidery by the artist, (12 mm tulip wood box frame, low reflective glass, fabric lined backing and fillets), Unique

Stygere (hateful), 2020 — 50x50 cm, Archival pigment print, Hahnemühle Photo Rag 305 gsm, (15 mm tulip wood frame, low reflective glass), Edition of 3+ 2 AP

Anaplekte (quick, painful death), 2018 — 60x60 cm, Dye-sublimation printing on woven fabric, Ornate obeche wood tray frame, floated presentation, Edition of 3+2 AP

Nautilus, 2020 — Image from my father's archive, Japan, 1956, 31x26 cm, Dye-sublimation printing on organza fabric, integrated hand-stitch embroidery by the artist, 12 mm tulip wood box frame, low reflective glass, fabric lined backing and fillets, Unique

Aletheia (unconcealment), 2020 — 60x60 cm, Dye-sublimation printing on woven fabric, (Ornate obeche wood tray frame), Edition of 3+2 AP

Thia Metamorfosis (holy transfiguration), 2019 — 80x80 cm, Archival pigment print, Hahnemühle Photo Rag 305 gsm, (15mm tulip wood frame, low reflective glass), Edition of 3+ 2 AP

Thysiasterion (sacred altar), 2019 — 50x50 cm, Archival pigment print, Hahnemühle Photo Rag 305 gsm, (15mm tulip wood frame, low reflective glass), Edition of 3+ 2 AP

Nosos (disease), 2020 — 60x60 cm, Dye-sublimation printing on woven fabric, (Ornate obeche wood tray frame), Edition of 3+2 AP

Apate (deceit), 2020 — 60x60cm, Dye-sublimation printing on woven fabric, (Ornate obeche wood tray frame), Edition of 3+2 AP

Erebus (primeval void), 2018 — 50x50cm, Archival pigment print, Hahnemühle Photo Rag 305 gsm, (15mm tulip wood frame, low reflective glass), Edition of 3+ 2 AP

ArchiveConceptualContemporarydeathEmbroideryfantasyfictionlandscapelossmemorymourningtextiles
The Truth is in the Soil, Video, 3 minutes, 2020 — The starting point of this video was a performance realised on Mount Poikilo in western Athens, on the hillside of the cemetery where my father is buried. In the work, I stage a dialogue between the fabric-covered figure of my mother and objects from my father’s funeral, creating a personal landscape of my birthplace as experienced through the memory of grief. The sounds are a mixture of field recordings and original sounds of the Greek Moirologia (Fate Songs) as performed in the communities of professional mourners in Mani peninsula of Greece.

Thanatos (death), 2020 — Performance stills (realised on the hillside of the cemetery where my father is buried, Mount Poikilo, Greece)

Polyhymnia (sacred hymn), 2020 — Performance still (realised on the hillside of the cemetery where my father is buried, Mount Poikilo, Greece)

Eros (love), 2016 — 50x50 cm, Archival pigment print, Hahnemühle Photo Rag 305 gsm, (15 mm tulip wood, low reflective glass), Edition of 3+ 2 AP

On the left: Thalassa (sea), 2019 — 50x50 cm, Archival pigment print, Hahnemühle Photo Rag 305 gsm, (15 mm tulip wood frame, low reflective glass), Edition of 3+ 2 AP, On the right: Letter from Puşa, 2020— Image from my father's archive, Bucharest, 1969, 31x26 cm, Dye-sublimation printing on organza fabric, integrated hand-stitch embroidery by the artist, (12 mm tulip wood box frame, low reflective glass, fabric lined backing and fillets), Unique

On the left: Maizuru Jukogyo, 2020 — Image from my father's archive, Japan, 1968, 31x26 cm, Dye-sublimation printing on organza fabric, integrated hand-stitch embroidery by the artist, (12 mm tulip wood box frame, low reflective glass, fabric lined backing and fillets), Unique

The Truth is in the Soil, Handmade artist book, 2020 — 20x16 cm, including a unique hand-stitch embroidery artwork and two texts by the artist, Cloth cover, Handbound-Japanese binding, Unique

Nostos (homecoming) — Image from my father's archive, Greece, 1972

The artworks bring together my father's sealed photographic archives from over 50 years ago, found after his death, and traditional hand embroidery stitching my mother has been practicing, during their time apart, throughout his journeys away as a sailor. The series is the result of a collaboration and exchange between me and my mother as the images are posted between Greece and the UK, and once delivered we both proceed in continuing from each other’s ongoing embroidery act. In the process of speaking about death in my work as a passage through time and memory in the archive, this folding and thickening of language deriving both from the material form of the textile and the mutual act of embroidering, permits me to explore how the mourning process enables a creative relation to the object. As a result, a language of thought that is spoken elliptically has emerged becoming the mark of a fragmentary dialogue with the endless tracing of loss.

Speak, memory—
Of the cunning hero,
The wanderer, blown off course time and again

Speak
Of all the cities he saw, the minds he grasped,
The suffering deep in his heart at sea

Of these things,

Speak, Immortal One,
And tell the tale once more in our time.

Extracts from The Odyssey, Book I, Lines 1-20 by Homer

World Photography Organisation

Website:

https://www.worldphoto.org/

The Royal Photographic Society

Metro Imaging

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