The first time I saw work by New York-based photographer Petros Chrisostomou I could NOT figure out what was going on. Were the everyday objects that occupied his images large scale sculptures? Was this just an exceedingly clever use of forced perspective making them look really big? Where I was looking for clues was the problem.
Here the sculptural objects are real, it’s the rooms that are not.
Chrisostomou plays with scale in the most convincing way, using hand-crafted mini architectural models to set the scene. Even armed with that knowledge, his work is so perfect it’s hard to find any evidence we are looking at an illusion–a tiny room enclosing artfully arranged ballpoint pens or stiletto shoes.
Here the artwork is more than just visual tricks. Each embodies a rich symbolism tied to a sense of place and culture. The artist’s website explains:
Chrisostomou’s work questions how we interpret them using a range of incongruous visual clues, obscure constellations of objects and spaces, with symbolically rich contexts. Most recently this work is made with materials collected from stores located in Brooklyn, Afro American hair extensions, grooming products, and Dollar store items, that in turn are socially connected to the communities they reflect.
Similarly the environments chosen to present these objects tell a story –through a lucid observation of Brooklyn’s subcultures- and link a thread throughout the geographical and social connotations of these works. As a product of Globalization, born in London to Cypriot parents, and now living in New York, Petros Chrisostomou explores the idea of the indigenous habitat, by creating these boxes from which to work in, and juxtaposing these items to form connections and disconnections. They become symbolic metaphors for a decentralized notion of where we find ourselves culturally grounded, and the spaces that we relate to as home.
Chrisostomou perfectionism comes from over a decade at work crafting miniature scenes. Find his latest work here.
(via Beautiful Decay)