Markidou’s photography series, which are in this publication arranged in a dialectical relation, displaying an organic continuity and defining with clarity the context of her work, constitute a double abstraction: first comes the detachment of the objects from reality as a whole, and their transposition to a ‘neutral’ environment. This is followed, as a second degree of abstraction, by the conversion of the object or the installation into an image. Part of their fascination lies in the fact that they bring out how powerless the beholder is in the face of images which do not bear accompanying information, when, that is, he/she attempts a personal interpretation, which up to that point was involuntarily entrusted to other hands. It also lies in the constant counterpoint between a modern, technological medium of reproduction and a raw material which seems to derive its root from cultural archetypes. The game of mystery between art and life, between imaginary primitivism and technological culture, between reality and its representation, with minimalist aesthetics and an introvert intuition as a guide, resembles an enchanting tale. It is perhaps for this reason that the rock couplet declares: fairy tales are not true / but at least they’re not lies. It is this spacious but demanding verge that is inhabited both by the art of Natassa Markidou and the photographic medium with which she has chosen to serve it.
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