18/06/2026
Costas Vittis,“Beach. One Day”
In his new solo exhibition, artist Costas Vittis explores the body, memory, and freedom, elevating the beach into an intermediate space of experience and contemplation. Using photography and video art, the artist’s research-driven approach transforms space into sensation, giving it an almost meditative character.��
Through authentic photographic captures and moving images, the exhibition records the subtle yet intense energy that emerges when bodies are exposed to light, water, and coexistence with others. The images function as traces of moments — experiential states that become inscribed upon the soul and influence the individual’s subsequent path.��
In Vittis’s images, bodies permeate space. They appear as pulses of light, as imprints of a movement that never fully concludes. The image refuses to stabilize, just as the identity it attempts to contain refuses to remain fixed. Through the diffusion of light and the disintegration of contours, the figure enters a state of continuous becoming — a condition reminiscent of Gilles Deleuze’s concept of “becoming,” in which the body is never given but always in formation. The figures are not subjects; they do not inhabit space as units or owners. They are processes. The materiality of their flesh is eroded by light.��
In an era in which the image insists on freezing, categorizing, and defining, this body of work chooses ambiguity — not as absence, but as resistance. The body escapes, and within this escape, it redefines itself. Overexposure does not function as a technical “mistake,” but as an aesthetic strategy of dematerialization, transforming the body into a field of energy. In this transition from matter to spectrum, one can hear echoes of artists such as Francis Bacon, in whose work the body is distorted in order to convey intensity.�
The photographs have been created using particularly slow shutter speeds, without any digital processing or use of artificial intelligence. The result is a series of blurred, almost painterly frames that evoke an impressionistic visual language, with soft pastel tonalities. The image moves away from documentation and approaches sensation — it becomes experience.��
The beach is presented not as a place of recreation, but as a field of inner transition: a space where time slows down, perception changes, and communication with oneself and others becomes spontaneous and immediate. The exhibition proposes a different way of seeing — an invitation to perceive not only with the eyes, but with the body, memory, and sensation.