For Achiles Nasios, photography has always been a malleable means of experimenting. With the “power of it's content” the first years of his involvement in the Academy of Cinematographic Arts of Prague and it’s form, when later he found himself at the Fine Arts School in Berlin.

“The meanings of photography had started to appear then, even in the simplicity or the perplexity of the photographic action itself, from the pre-imaging, the selection of the notorious "critical moment" till the decision for the presentation of the final image. Form, contest and technique have been unified in my work since then” says, interpreting the absence of one and only style in his work up to today’s journeys. His images compose each time the outcome of an internal dialogue that takes its shape either mentally -when recorded in directed establishments in a “closed” room, like those that he had presented at the Photosynkyria '98 in Thessalonica- or emotionally when they take birth at the view of a landscape like the “Perea gi” ("Distand Land" a unit of images that had been first presented in1999 in Toulouse’s tribute to modern Greek photography)
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Since mid 90’s Achileas Nasios has been seeking and photographing places that have never been photographed before and that nonetheless are bringing up memories of mythical or historical times. He has been always working on black and white, always in harmony with the way that he perceives the world, being a musician. “The way that I place my images in a room – I work in comparison, creating narrating units- is related directly to music. The photographs in “Perea Gi” for example, have to compose when exhibited, a kind of optical melody” commences and talks about “SCHEMA” the group that he has co-created returning to his home-town Gianena, after his studies, as well as about the performances that he was presenting during his student years at those “underground” places in Berlin.
 

“ From the moment that I am interested in proceeding beyond an external description of the world” he concludes, “it is necessary to know the way of looking within me. From there on seeing a picture of "my own" I come to know the imperfections of myself.”
                                                                                                                                                                                                                                                                Published on “Difono” magazine, on February 2001