It is true, that many artists and theorists of art are focusing the study of the aesthetic object, based on the realization between sketch and colour. But the main thing that unifies the art work and gives the special visual image, it is Light. Not the light which is analyzed in many colours with the impressionistic style, but the light which is captured by the artist's eye and then it is filtered by the artist's spirit to shape with intuition the forms of visual reality. This intuition has the power to transform everything in to a piece of art.

Following the discovery of photography, no artist, with minor exceptions, could approach his work without some awareness of the new medium; no photographer without some consciousness of the other visual arts. As Aaron Scharf, writes in his book «Art and Photography» ...though the symbiosis of art and photography, a complex stylistic organism was created.

Personally, making anatomical studies of the human body, for many years, I realize that photography helped me a lot to understand the structure of the nude body and how to put it in the limited space of the board. During my art courses at the New School for Social Research in Manhattan, I had the pleasure to work with Jose Orraca, in his studio in Madison Avenue. There I had the opportunity to learn how to analyze photos from potential restoration with greatest concern the stabilization of the print. Always, respecting the style of the photographer and his materials.

I adored the photos of Baron Wilhelm Von Gloeden and Guglielmo Pluschow and I felt a strong relation with their ideas. When I came back to Greece I had a solo photographic exhibition at the Dada Art Gallery of Athens. Title of this exhibition was: «The artist and the model». In October 1990 I founded the Art Studio Est. I dedicated my first performance to Baron of Taormina. Since then, I had many presentations in Greece and other countries with the same photographic theme: The young human torso and his march in places with old history (Arcadia, Lusios river, Sounio, Vravrona, Athens, etc).

I can say that shoot my composition I feel very uncomfortable. I afraid how the model will react because my concept is based in his spiritual union with the environment. If this union will be possible then the general result of my effort, gives an extension to my plans of expression. This momentary miracle is the poetic dimension of photography.

Costas Evangelatos