by John Perivolaris

A for Austerity


République #12


Remain or Brexit


Falling boy


Shoreditch Bridge Portraits #282


Shoreditch Bridge Portraits #281




Shoreditch Bridge Portraits #290


Shoreditch Bridge Portraits #287


Shoreditch Bridge Portraits #291




Fossil future #1


Fossil future #2




Blow the Bank


About the Artist:

John Perivolaris has received commissions to work on major photographic projects in the UK and internationally. Often collaborative, his projects use photography, text, and related media to reflect on diasporic states of being in the late period of capitalism. His website is:

London, 1978 – 1980 and Austerity are two suites of photographs that bracket his evolution as a photographer. They span two periods of austerity in the UK. They also trace the transition from analogue to digital camera, to cameraphone, sampling the surfaces of, respectively, two ages. They also document traces and faces of life in granular black and white and pixellated colour during the late and post-industrial periods of British history.

  • Nick Telfer

    I was thinking about going to watch the new Bladerunner movie but thought I hadn’t looked at Berfrois for a while. Very poor. Of me.

    Then here we have the future in these photographs.
    Time to grapple with what is happening now. Not a vision of 2049.
    The old Blade Runner movie was set in the future, and that future is today, 2017, or near enough.
    Oddly, the world is not as broken as the first film portrayed, or as stylish/stylised.

    But, that is getting away from the images here.
    Very close. I wonder how John Perivolaris thinks his own vision of the sights of London has changed since those shots of 1975-80.

  • John Perivolaris

    From your comments, it seems we are talking about dystopias here. As you observe, dystopias are not what they used to be, nor are we, especially if we are photographers. Style reveals us, in this respect. The grainy black and white of punk London was anything but nihilistic and seems almost romantic from our pixellated viewpoint now, shared as it is by the disembodied eye of corporate surveillance. The urge to photograph is the same, however, driven as it is to capture the posthumous phases of a capitalism giving the illusion of being alive through its virtual speed, pedestrian flows through shopping malls, and digital color. Against the illusion of speed, standing still to to freeze the flow in a photograph is hardly passive. If the photographer’s stance appears static, it actually invokes the Ancient Greek sense of stasis. That is, standing one’s ground or taking a stand long enough to see the lines on a face and the colour draining from urban surfaces.