Nikolas Ventourakis

Athens, Greece

Greek photographer Nikolas Ventourakis creates works that challenge the assumptions of his viewers. Fundamentally, the central point of his work is the denial of a resolution. As well as this, they are also an invitation to consider artworks that might have a documentary value as abstract creations of situations. Eventually, we then project onto these what is recognisable and familiar to us.

Importantly, Ventourakis’ fascination lies in our need for stories to be conclusive. He is interested in apparent and, in particular, simple pictures that cannot and do not explain a given situation.

Photographic Narrative

Consequently, it is easy to fall into misinterpretations of his projects. In a similar way, it is easy to make assumptions when the information provided is just short of having a clear conclusion. In this instance, the viewer and participant fills in the missing blanks. For instance, on the first reading, those blanks are confronted by using a conventional abstract knowledge. Above all, he asks us to reconsider and question what we are really looking at with the realisation that all narrative pointers are missing.

Key facts

View CV
  • BA Department of Photography and Audiovisual Arts, Technological Educational Institution (TEI), Athens
  • MA Photography with Merit Central Saint Martins – University of the Arts London, London (2013)
  • Artist-in-residence at the California Institute of Arts with a FULBRIGHT Artist Fellowship (2014/15)
  • Deutsche Bank Award in Photography 2013; Finalist of the Celeste Prize 2013 and selected for The Catlin Guide 2014 and the Future Map 2013 as one of the top graduating artists in the UK
  • Solo and group shows include ‘Unlikely Outcomes’, An Improvision, Void Gallery Space, Athens, Greece (2020), ‘Leake Street Canons’, ArtNight, London (2018), ‘The Banality of the Avant-Garde’, APHF18, Benaki Museum, Athens, Greece (2018), ‘Defining Lines’, Mount Rokko, Kobe, Japan (2017), ‘Systematic portraits’, Düsseldorf photoweekend, (Düsseldorf,2017); ‘The banality of the Avant-Garde’, Palazzo Consentini, (Ragussa, 2016)