Visions of the Soul: Interview with Constantinos Sofikitis
13 December 2024.
“I breathe the clear air of the human heart and battle to go beyond it, too, rising above and inhaling as I gaze at the frightful journey ahead and behind.”
To Rev. Emmanuel Papastefanou. Berlin, 10 October, 1922. Nikos Kazantsakis.
In the world of photography, Constantinos Sofikitis stands out for his ability to capture the essence of his subjects with depth and authenticity. With an approach that combines technique and sensitivity, Sofikitis invites us to see the world through his lens, revealing stories and emotions that often remain hidden. In this interview, we explore his artistic journey, his influences, and the passion that drives him to continue capturing meaningful moments.
How has your academic background influenced your artistic approach?
I wouldn’t say that education has been the main influence in my life since I studied Mathematics and Economics. My greatest influence has been my father. Additionally, studying outside of Greece has given me the opportunity to travel, which has influenced my observation of photography during each journey and fueled my love for traveling.
I read in an interview with Evridiki Kovani for Logos Magazine the names Domna Samiou and Ioannis Tsatsaris. How have these people influenced your work?
Domna Samiou traveled all over Greece, especially to investigate what remained of the musical tradition in the 1970s-1980s. She alone visited every village and town, reviewing every document related to it. There is very little documentation, except what she managed to collect. Without sponsors, this is the legacy of all her effort. This has influenced me; Marabou has no sponsors. It’s just me, my brother, and other friends who join. What I do first connects with my soul, and I look forward with optimism for the future.
Ioannis Tsatsaris… I have no way to describe my gratitude towards Ioannis Tsatsaris. I had the fortune to meet him when I was 9 or 10 years old and had long conversations with him. His books have been like beacons for my thoughts. He made me love Greece, the true Greece. I have never met another person who truly loved Greece like him. He has been an inspiration to research and learn, to embark on the journey of telling oral stories.
What motivations led you to start the Marabou project? How has it evolved over these 6–7 years of work, and what are some of the most significant challenges you faced during this period?
Curiosity and research motivated me. It all began when I was a child and accompanied my father on his travels through Greece and the Balkans. The festivals, the old cafes… I loved hearing all the stories. But it was in 2018 when I decided to tell the story of all those stories I had heard, and some more.
I have not been sponsored by anyone; I have done everything with my own resources. I traveled to all 67 islands of the Aegean. It was a difficult season at first, but at the same time, I felt great freedom while traveling, especially with my brother. I already knew some people and places, so I had some knowledge. I wanted to go, one by one, to all the islands.
The challenges in terms of evolution… tourism is a disaster. For the past 20 years, it has been the main source of income, but much of the underlying culture has been lost, to be honest. Each year, there are significant changes due to tourism. I have tried to remain optimistic with what I have seen, but it has been discouraging. Locals have been opposing this: islands and places have turned into theme parks.
Nevertheless, I want to continue expanding Marabou and traveling through Greece, the Northern part, Crete, the Peloponnese.
Why Marabou? Where does the name come from?
It comes from the Greek poet Nikos Kavadias. He used to be a sailor. He heard many stories from other sailors and wrote them as novels, almost like Socrates and Plato, where one taught and spoke, and the other wrote. Kavadias’s poem is “Marabou”. A close friend suggested using that name. Honestly, it is an umbrella for documenting life. In the Aegean, it’s “Marabou: Historiography of the Aegean”, later it will be “Marabou: Historiography of Crete”, “Marabou: Historiography of Nepal”… “Marabou: A Journey to the Soul of the Islanders” is the name for the Cuban part. I want to see and learn more about Cuba.
Was there an order of selection in your travels to the Aegean islands? And, what criteria did you use to identify the stories you wanted to tell?
No specific guidelines. It’s a journey that begins with my need to know, to go to the place, sit down, have coffee, and walk, preferably in winter, when there are fewer people. It’s not just about documenting, but something that comes from within, from my need to be there.
The only criterion would be that if I knew someone was a bad person or harmed others, I wouldn’t want to share their story. It’s all about what person and story to share. Different stories of love, difficulty. Tough stories. It’s about being there and communicating, not following some kind of criterion.
Could you share a significant experience while capturing everyday life in different cultures during your travels?
The way I travel, being exposed to something not shown to the world, is what inspires me the most. I then want to live and experience this.
For example, in the Kuna islands in San Blas, Panama, there was a war 200 years ago with the white Panamanians, and this left a strong mark on the Kuna islanders. The natives hid and cried because when we arrived, they thought we were going to take their land and attack them.
In Kalymnos, I had to walk 3 miles to reach these shepherds. Mr. Michalis, when we met, sold me an olive tree that was 2000 years old. He told me that this tree had provided olives and oil to many people and families. He also said that nature is wise and good, and people argue ‘this is my land, my olive tree’ unnecessarily. These shepherds have great respect for their wives.
It’s not just about traveling far, but having these conversations. I want each journey to be like a journey to the soul. In each journey, I want to touch parts of my soul. If I see something I have never known, if I hear something that has been reminded to me, it is wonderful.
What advice would you give to aspiring photographers who wish to capture the essence of different cultures?
I read letters that Nikos Kazantzakis sent to other people. In one of them, he says that the only great advantage that a human being can have is to remain human. That is my motto. This idea illuminates and guides me in everything I do.
If you want to follow this path, you should first respect the other person’s history and privacy, and then comes the stage of photographing and documenting. It is essential to remember that photography, especially when it involves people, is not about placing yourself at the center of their stories. One must always be respectful and considerate. However, I don’t feel in a position to tell someone what to say or do. Life coaching is not my style.
Do you have any future projects that particularly excite you?
I have a new project for February in Tanzania. We will document 3 people. We have a disabled friend that we want to take to Kilimanjaro and help him. It will be 2 very challenging weeks.
There is also “Echnilasies”, a fun travel project. We are a group of photographers and filmmakers who want to offer the Greek audience a different and fun way of traveling. Currently, travel programs are always the same, repeating the same things.
This project has never been broadcast on television. It’s like a toy. We climb, travel, and showcase our experiences. Maybe someday it will be broadcasted, but it is not a long-term project. It’s more of a different approach to traveling.
