Yorgos Prinos’ work in photography explores issues of power at the intersection of psychology and politics. He approaches urban space with a periscopic gaze, looking to convey the complexities of the human experience with an emphasis on the ways subtle traces of toil are inscribed on the body. The face is central, and becomes a register of society’s current state. At its core, Prinos’ practice magnifies the real. His methodology looks to record without any layers of mediation, producing images that are consistent in their reductionism and employment of minimal means. At times, Prinos broadens the scope of his own images with found imagery and works of his contemporaries. This referential method borrows from a literary one, with visual parallels mimicking the role of footnoted references to other practitioners, works, and theories. Suggestive and elliptical narratives emerge through the slow accumulation of images, as well as carefully constellated arrangements. Alongside his artistic practice, Prinos has co-edited several catalogues, contributed to various books, and co-curated major exhibitions in Greece and abroad. 

[1] Absent God
[2] The Face (from Means Without End)
[3] The Surface (from Duty Free Art)
[4] Au Hasard Balthazar
[5] They Have Ruined the World (from War and War)
[6] Forgiveness