Irini
Michopoulou was
born in Patras, Achaias, Greece in 1972. She attended
a combined secondary school, where she majored
in graphic arts. After working as a graphic designer
she decided that her passion is photography. She studded
photography at the E.M.E.F school of Photography studies.
At the E.S.P School for applied and art Photography
studies and then at the Leica Academy private School
of Photography
studies.
Her work (both graphic and photographic) has been
in many print outs (Month of Photography,”Vima”newspaper,”Ta
Nea” newspaper, “Fotografos” magazine..)
Exhibited in team and one man show exhibitions, as
well as in 4th, 5th and 6th exhibition of New Young
Greek Photographers. She also has exhibited in one
man show exhibition within the frame of Photosynkyria,
Thessalonica and in the Gallery -restaurant “Thiasos”,
Athens. A series of artistic still life’s (of hers)
is permanently shown in fine palate studio, Singapore,
Asia. She has been travelled in Asia and Europe for
work or doing travel photography.
She works as a freelance photographer in portraits,
art, fashion and interiors in magazines and printouts.
MORE
INFORMATION AND PHOTOS
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Katatmisi
(which means fragmentation)
This is a series of coloured self-portraits, quite peculiar
with regard to their conception and realization.
The subject unfolds in two sub-sections, both with a common frame and a common
technique: display and covering of the body; however, each one is made with a
different mood and attitude towards the subject.
She picks a black, round frame on a white background, a dark hole from where
appears her face. In this darkness, on her body, begins a dialogue of the self
with its image. A dialogue that takes place inside the image, not before.
In the first section, the eyes and the mouth are characteristically enlarged,
almost nightmarish; they set in the body, blemish it and compete with it: eyes
looking at us wide open, a mouth like a wound on the skin. The pores of the body
seem to distend, to open to the world, changing shape, just like it happens only
in the dreams.
In the second section, the image is not looking at us, at the world. It develops
a more introvert dialogue with the body, less competitive than in the first section.
Here the images cover the face like consecutive masks, or they intersect it,
complement it by giving a multiple version of it, or they even nullify it: the
body stays in the shadow of privacy, and the image becomes the social face.
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