07–15–24
My relationship with fashion has always been uneasy — a pull of beauty and a shadow of resistance, a fascination shaped by both desire and doubt. Out of this tension, Fluid Couture emerged.
What began as an antithesis to conventional fashion imagery became a space where the surface loosens
and the familiar slips into something stranger. Here, color becomes liquid, faces flicker like painted ghosts and the frame tightens until only the dream remains.
These images explore the illusions we create and consume—the shimmering lies of beauty,
the stories we sell to ourselves, fluid, shifting, and never entirely true.
Published in Eyemazing Magazine
© Lambis Stratoudakis
Photography, FluidCouture
07–15–24
Through slow experimentation on old, faded Polaroid film and gentle camera manipulations, I learned to coax vivid color from the Polaroid itself—color that rises naturally, untouched by retouching.
Within the unpredictability of analog emulsions, I try to reveal not only color and light, but also feelings and memories—moments that never truly existed, yet feel real in the instant the film develops.
Each Polaroid becomes less a document than a small, suspended fiction.
These images are about wishes, sacred glimpses, and the small fragments of magic that shape this series—my way of catching something ephemeral and holding it, briefly, in the light.
Photography, Polaroids
07–15–24
In water, the body becomes something in between—a drifting shape, a breath held, a dream unfolding. The surface softens everything; outlines dissolve, gestures blur, and the familiar turns fluid.
These images emerge from that suspended space where reality loosens its grip. Faces distort, hair drifts like smoke, and light moves slowly across the skin. Nothing is fixed. Everything is becoming.
I follow these moments not for clarity, but for their quiet instability—the way they feel unreal and true at the same time, as if borrowed from a dream just before waking.
Here, under the surface, the world bends, softens, and comes through as something new.
Photography, Underwater
07–15–24
Nothing I had experienced before felt as beautiful, as graceful, or as profoundly peaceful as watching freedivers descend into the deep. They vanish slowly from the vast blue into the quiet darkness of the abyss—a controlled surrender, a drifting prayer.
Here, depth becomes a kind of language. The line is their only anchor, the body a silhouette folding into stillness, the water a world that gathers them without effort.
I follow these descents not for spectacle but for the calm that surrounds them—the suspension of time, the breath held and released, the fragile balance between falling and returning.
In this space, the human form becomes elemental: weightless, solitary, and utterly at peace.
Photography, Underwater
Case Study
Process Overview
This lighting study begins with a simple question: How can flat technopolymer sheets become spatial, luminous structures?
Using AI, I guide artists through rapid geometric ideation—iterating on structural rhythm, light diffusion, and material behavior long before physical prototypes are produced.
This approach accelerates experimentation, allowing form, structure, and material logic to evolve in parallel.
Creative Notes
These lamp forms balance mathematical precision with organic movement.
Each variation demonstrates how simple sheet elements can expand, twist, and bloom into intricate spatial compositions—revealing new expressions of light, shadow, and structural behavior.
Design,
Generative
04–24–24
This storyboard is an early expression of a film I hope to make someday. It explores the underwater realm as emotional space: vast, calm, and unpredictable. As one diver moves deeper, the other must face the fear of losing what they cherish.
Ultimately, The Dive is about love — the love we share with each other and the love we feel for the worlds that formed us. It’s about knowing when to swim toward someone, and when to rise to the surface for air.
It reflects our own inner tides: the pull of passion, the fear of loss, and the quiet courage it takes to return to the light.
The Dive remains a dream project, but this storyboard is where that dream begins.
Privat,
Underwater
I have always been drawn to the quiet moment when an image begins to take shape — a shifting of light, a suggestion of form, a space becoming something more than itself. Photography was my first language for exploring those transitions, and for many years it guided me through museums, studios, and cultural environments where art and documentation meet.
Recently, my work has opened into a new kind of landscape. I’ve been experimenting with generative design, AI-driven morphologies, and the fluid reshaping of interiors and spatial atmospheres. These tools allow me to extend the familiar grammar of photography into something more flexible and imaginative — spaces that can bend, breathe, and reform, guided by both intuition and computation.
This combination of traditional craft and emerging technology has become a natural part of how I work. Whether I am creating images, developing visual concepts, or exploring how environments can transform through generative processes, I’m continually looking for ways to bring clarity, depth, and quiet emotion into the final result.
My background in fine art and museum photography, along with years of working closely with artists and cultural institutions, has shaped a practice grounded in care, precision, and thoughtful collaboration. I value processes that feel human, even when they involve machines — the subtle balance where creativity, curiosity, and technique meet.
I see my work today as an ongoing exploration of how we might imagine spaces differently: not just documenting what exists, but allowing new forms to emerge — softly, gradually, almost like watching a room inhale.