Exercising the art of photography is, perhaps, the most scientific proof of the Relativity theory, according tο which the observer is part of the experiment, having a clear and measurable impact οη its result. Moreover, the modern theory of Chaos has a special application ίη the action of photography, according Ιο which infinite combinations of a myriad of imponderable factors cause unforeseeable results and are a reliable source of multiple scenarios and interpretations. How different would the photograph would have been if the photographer had been born ten years before or ahead? How much does a moment or an image "freeze" when it is cut off from its natural continuation in both space and time and becomes a photograph? Up tο where are the boundaries of photographer's moral and aesthetic responsibility extended when he has the exclusive opinion of choosing amongst what he is tο shoot at, keep and, eventually, show? How multiple can a reality be? How much is a familiar place changed within us subsequently tο the sight of its unexpected photograph? Fruitful questions and, perhaps, some answers wil1 stem from the photographic quest throughout the space and time of Chios, a dear part of Greece and of the creator's own personal experience. Landscape and History, People, Customs and Activities: These are only auxiliary distinctions, as "one is everything” You may not, however, say everything. Even if this was possible, it would be of no avai1. Because the observer is someone else from now on: ourselves.
