''In solitude, where we are least alone'' Lord Byron

This body of work consists of thirteen photographs from an industrial port. It seeks to express the feeling of  personal alienation and the suppression of self, juxtaposing the viewer with the mechanical, orderly and overwhelming mass of industrial machinery. At the same time, it seeks to recreate a theatrical and allegorical play as a form of social critique, or resistance, based on the same representations of the mundane life of a harbor and their resemblances to human figures.

It takes place in the industrial port of Thessaloniki, Greece. The setting of huge metallic constructions, massive apersonal buildings and vast empty spaces, in which the human presence is too small and human labour was hardly apparent, almost non-existent, provided the framework for contemplating social alienation. The 'Anthropomorphic' attempts to approach the cry of the individual to make sense of creative inner pressures, to voice personal difference, against the disciplinary tendencies of the ubiquitous, functional rationality of the modern institutions.

The 'Anthropomorphic' represents the life of a harbor as a reflection and a metaphor of human societies, whereby the harbor cranes substitute individuals, become the new humans, who are working, parading, become supervised or take a break and reveal a different personality from the fellow next to them. (The word 'anthropos' in Greek means human). In this way,  the work as a whole attempts to escape the initially passive appearance of the individual stance, turning it into a resistant and even humorous act and reaction. The work, finally, can be seen as a comment to naturalistic assumptions of the physical world. Considering that what we actually interpret here is nature through our own ideas and perspective, thus infuse it with sociality, these images also serve to question the assumptions of an external, natural world which precedes anything social.

Elements of social relations informed this project from its beginning. I travelled from Leeds to Thessaloniki some time after a group of British people were arrested in a Greek town for plain-spotting. So for these photographs to materialise, within a context of quite different political sensitivities from one place to another, I had to follow the rationale and procedures of the local social order; i.e. join a bureaucratic process, acquire a licence, provide justification, pay fees, follow predetermined schedules, and other details set up by the local port authorities.

The photographs were made in slide film and later processed digitally. Scanning artifacts, such as the scanner's patterns and asymmetrical black borders, were left in the image as an integral part of the mechanical world represented in these photographs.