Dream Tree

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Abandoned industrial plants in Greece have become temporary shelters for refugees - some on their way to Italy, others staying and working in the country. On photographing these plants, the photographs of the drawings and writings, left on the wall of the buildings by the temporary tenants, gradually caught my attention. Written between 2005 and 2018, these texts include Koran extracts, proverbs, poems, love messages, and their expectations on the travel to Italy.

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The texts were translated, curated and arranged into a continuous narrative flow reflecting the culture of the Muslim refugees. This work was entirely based on practically all the texts found, with no filtration on my part. In translation, special emphasis was placed on uncovering the meaning hidden in almost unreadable scrawls across crumbling walls. In such cases, creative imagination became an essential tool for interpreters selected for their working experience with refugees.

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I was deeply moved by the stamina, dignity, and optimism the refugees expressed - despite the dangers and risks of their past life and travel, including the inhuman conditions of their present residence. Inspired by my encounters meeting them in the industrial buildings, I wrote two poems grounded entirely in true events expressing my feelings and thoughts. The poems address themes of inclusion, acceptance, and integration, and reflect on how modern Western society responds to those perceived as different—the marginalized, the unfamiliar, the “other”. These issues are, I believe, among the defining challenges of our time.

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This project emerged unexpectedly as a side endeavor in the context of my primary work in Industrial Archeology Photography. At that time, my engagement with the refugee issue was minimal, reflecting the general awareness of the average citizen. It is now necessary to reflect upon and reconsider the impact of this photographic experience on my perceptions, my mindset, and my emotional sensibilities. This experience has above all instilled respect, a profound respect for the “other”, useful in any meaningful process of understanding and constructive action.

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In my recent photographic trips, I was fortunate to discover additional material, which I will study and curate in the same way. Tracing similarities and differences between these projects is both challenging and rewarding. As a photographer and chemist, I know my work cannot replace deeper anthropological studies. I am open and welcome further research on this material found, which can be offered under request.

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Special attention was paid to the video’s music composition and the instrument choice to accompany narration. The oud, a traditional Arabic instrument referred to as the Arabic guitar, carries the voice of the refugee narration. The guitar, emblematic of Europe, accompanies my poetry. The video opens and closes with my poems, framing thus the work as an internal dialogue between Christian/ European and Muslim/Asian worlds. A selection of photographs, each shown with all the texts contained, is included in this leaflet.

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I wish to thank all who supported and encouraged me in this project. In particular:

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• Kayra for her overall support

• Fariba and Maria for their translation services

• Maya, Vassilis and Dimitris for narrating the texts

• Vassilis Koilakos for composing and performing the music

• Iphigenia for her scientific documentation and support.​

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My thanks are extended to the audience, honoring me with their presence and interest. Finally, my deepest thanks go to the authors of the wall texts. I hope, they will finally reach their destinations in peace fulfilling their dreams.

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“thank u naw me france” N.J., July 2019

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I met N.J in Patras during a photographic trip in March 2019 on his way to Europe.

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Dr. Yiannis Tyrovolas yiantyro@gmail.com https://tyrovolas.wixsite.com/photography