This way of working by Mayte Piera surprised me the first time we contacted directly. Piera proposed to me to publish a series of photographs that she had take of the Dimitris Pikionis project for the surroundings of the Acropolis hill and of the path through Mount Filopapo.
On Dimitris Pikionis? Yes, she replied ... I've been talking about Pikionis for years and seeing that it is, to a large extent, a surprising unknown outside of Greece. For a long time it has been a benchmark of pre-contemporary landscaping that we have recovered in several articles published in METALOCUS. When Mayte addressed us, without being an architect, to propose a series by one of the great masters of the landscape of the second half of the 20th century seemed to me something exceptional, of great sensibility and intelligence alike, but above all especially important to understand image as an instrument of recognition of our contemporary culture.
Mayte Piera has a long career, dedicating herself to professional architecture photography for almost thirty years. This activity has been combined for a long time with teaching at the university, where she transmits to students how to approach architecture from an "emotional perspective", asking about the relationships that space transmits to the viewer, occupant, user .. .
That sensitivity shown by Pikionis, choosing the stones of the path, recognizing the runoff from the rain on the ground, the arrival of the sun or the search for the impossible Attic space, are almost the perfect reflection of an extraordinary sensitivity that Mayte Piera demonstrates in her shots.
Her images are much more than technically perfect shots, with a high and intentional control of light and composition. Her shots seek the reading of a time, of a specific moment, in which her photographs present a vision that surprises the viewer, who having passed his gaze distractedly to the same place, rediscovers a new vision, a new space, and therefore causes the creation of a place by generating a link between the observer, memory, time and space.
On Dimitris Pikionis? Yes, she replied ... I've been talking about Pikionis for years and seeing that it is, to a large extent, a surprising unknown outside of Greece. For a long time it has been a benchmark of pre-contemporary landscaping that we have recovered in several articles published in METALOCUS. When Mayte addressed us, without being an architect, to propose a series by one of the great masters of the landscape of the second half of the 20th century seemed to me something exceptional, of great sensibility and intelligence alike, but above all especially important to understand image as an instrument of recognition of our contemporary culture.
Mayte Piera has a long career, dedicating herself to professional architecture photography for almost thirty years. This activity has been combined for a long time with teaching at the university, where she transmits to students how to approach architecture from an "emotional perspective", asking about the relationships that space transmits to the viewer, occupant, user .. .
That sensitivity shown by Pikionis, choosing the stones of the path, recognizing the runoff from the rain on the ground, the arrival of the sun or the search for the impossible Attic space, are almost the perfect reflection of an extraordinary sensitivity that Mayte Piera demonstrates in her shots.
Her images are much more than technically perfect shots, with a high and intentional control of light and composition. Her shots seek the reading of a time, of a specific moment, in which her photographs present a vision that surprises the viewer, who having passed his gaze distractedly to the same place, rediscovers a new vision, a new space, and therefore causes the creation of a place by generating a link between the observer, memory, time and space.
What led you to the photograph?
Although less and less, as a young man I was a very shy and talkative person. In a way, photography has been for me a very powerful vehicle of expression.
Why architectural photography?
Many times you arrive at the sites by chance, without having raised it, and then being there you discover the beauty of that place. With architectural photography something like this happened to me. One day a commission from an architect came to the studio and it was as a result of that work that I discovered the thrill of this discipline.
A photographer that you consider a reference?
There are many. I would not like to mention just one because I learn from a lot of people's work.
Build photography, ideas, inspiration? What do you prefer to capture spaces or create places?
For me, photography in general combines the two aspects: it captures and creates. Every photo is document and emotion. But it is true that perhaps in architectural photography this becomes more evident. That facet of document in the architecture photo is more critical, because the photographer gives a personal view of another person's work. As a document, the image must be faithful to the intentions of the architect and honestly show his work. But on the other hand, no less important, the photographer gives that image an emotional charge that takes it away from the simple document and complements it at the same time.
Architecture photography is a thoughtful, thoughtful photograph, a reflexive photograph, so when I tackle a story I like to visit the place before I start taking pictures. I try to understand space, analyze what it transmits to me. I study the path of light or angles. I look for details, but above all, the most important thing, I try to get the architect or the interior designer to tell me the work. That gives me much more information than any visit to the place.
Your first camera? And now?
I started working with film and then I used a Cambo of 9 x 12 and a Mamiya of 6 x 7. Nowadays I work with a Sinar ArTec decentrable and a medium format Leaf backrest. I do not get used to working with architecture photography with DSLR cameras.
Is there a photograph that you would have or would like to make?
All that are to come.
![Aínda sen título. White Letter [#3] to Narelle Jubelin. (Elena Asins · Narelle Jubelin · Anna Turbau). Photograph by Roi Alonso, courtesy of Galería Nordés](/sites/default/files/styles/mopis_home_news_category_slider_desktop/public/lead-images/metalocus_narelle-jubellin_carta-aberta_22_2p.webp?h=3b4e7bc7&itok=ALbdeJ3O "Aínda sen título. White Letter [#3] to Narelle Jubelin. (Elena Asins · Narelle Jubelin · Anna Turbau). Photograph by Roi Alonso, courtesy of Galería Nordés")
