Stephan Weixler Photography

Home
Greece
Methóni
Stephan Weixler Photography

Directions Website

Contact information, map and directions, contact form, opening hours, services, ratings, photos, videos and announcements from Stephan Weixler Photography, Art, Methóni.

Fotografie stellt für mich eine Möglichkeit dar eine bestimmte Idee, ein konkretes Gefühl oder auch ein komplexeres Zusammenspiel aus Form und Farbe zu kreieren, unter dem Gesichtspunkt meiner über die Zeit zusammengetragenen Erfahrungen.

22/10/2026

.
“You can lie with your tongue, but not with your eyes.” (2022)
There is a Belgian saying “You can lie with your tongue, but not with your eyes.”

Shot on analogue film across Antwerp, Ghent, Middelkerke, Liège, Bruges, and Brussels, these photographs offer fragments of places rather than complete portraits of cities. Mostly in black and white, with only a few images in colour, they move through streets, façades, and architectural remnants, observing what has endured and what has been left behind.

The human presence is largely absent. What remains is what we have built, alongside the nature we have allowed to stay. Old buildings dominate the view; the new is rarely visible. Occasionally, the gaze encounters the sea, a few birds, or a human figure - brief reminders of life within these constructed environments.

Just as the eyes in the saying, these photographs are like memories of my eyes, showing only what lies within the frame - shaped by my attention and my omissions. It is probably precisely in these fragments, in what appears without explanation, that something honest comes to light. The cities reveal themselves not through their familiar landmarks or their official image, but through their quieter details, their absences, and the traces of time inscribed in their surfaces.

These are not portraits of Belgium as it wants to be seen, but glimpses of what happens to remain when the spectacle falls away.
Technique: Hasselblad 500CM, Ilford Delta 100, Ilford Delta 400, Ilford FP4+, Kodak Portra 400, Kodak T-MAX 400, digital scan
Year of origin: 2022

19/10/2026

Nature Art Workshop – Dangjin (2022)
Created during a single afternoon at Dangjin Beach, these works emerged from a nature art workshop held as part of my multi-week artist residency in Gongju, South Korea. Working with materials and forms found along the shore, I explored simple interventions that shift the way we perceive everyday objects and natural surroundings. Through playful arrangements and subtle transformations, the works invite a closer look at the beach and its temporary, ever-changing landscape.
1. “just a mirror for the sun”

The iridescent Jeonbok shell, prized in Korea for their colourful mother-of-pearl, wash ashore and settle in the tidal flats. Collected on a sunny day, they reflect the sunlight like tiny mirrors scattered across the shore. For a brief moment, the shells become vessels of light, returning the sun’s brilliance to the landscape.
Technique: Panasonic Lumix GF9, various beach debris
Year of origin: 2022
.com

2. “two views”

A ladder is stuck upside down in the tidal flats. Through the almost right-angled interplay of the shadow, it appears upright again, as though it could be climbed. The image offers two ways of seeing the same object: as it is, inverted and out of place, and as it appears, restored to its familiar orientation. A subtle shift in perspective transforms an ordinary object into an optical ambiguity.
Technique: Panasonic Lumix GF9, various beach debris
Year of origin: 2022
.com

3. “the broken dream of the unbroken shell”

An intact sea snail shell rests beneath a thought bubble formed from broken stones. Its closed, spiral form suggests a world turned inward, as though the creature were still dreaming inside. The contrast between the unbroken shell and the fragmented stones above it leaves the content of this imagined dream open to interpretation.
Technique: Panasonic Lumix GF9, various beach debris
Year of origin: 2022
.com

4. “beach bucket”

A

15/10/2026

We are not there yet (2022)
Sometimes the first step is not enough. The decision to change should, like the first sentence of a story, lead to action. This story here is about the weight of human beings on nature. It weighs heavily and is probably equivalent to the importance we ascribe to ourselves. As part of nature, as profiteers, we behave very bitingly towards the hand that feeds us. But what do we want to leave behind when our time is up? What remains? We cannot live a good life without relying on nature, which in turn does quite well without us. For change, we have to free ourselves from our own fetters. But there is still a long way to go. We have to take it, because standing still is the beginning of the end, and we are not there yet.
For my work, I have chosen a massive material for illustrative purposes, to show that our fetters are made of the same material as we are. This rigidity is broken, and slowly one foot is placed in front of the other; the path takes a turn. As the steps are taken, the intensity of colour increases, starting from grey and finally revealing a leaf in an early autumnal shade of green. Above the green is an extreme enlargement of a young ginkgo leaf, which is not clearly defined and yet appears fragile. I have therefore chosen a young leaf because, for me, it stands for the rethinking of younger generations and should thus be an inspiration for the older generations, who still make most of the serious decisions today. The undefined and fragile character of the leaf looks back at us from an uncertain future. The ginkgo itself stands for resistance - it is naturally resistant to various environmental influences and can even take root under concrete.
Technique: levelling compound, acrylic paint, liquid photo suspension (analogue enlargement method), Hasselblad 500 CM, Ilford Delta 100, 7 pieces (each 42x42x8cm)
Year of origin: 2022

11/10/2026

Paris (2022)
Paris has its famous and its very famous sides. But the less glorious aspects of everyday life have also established themselves here, partly in a romantic way. Paris is world-famous, and there doesn't seem to be much pompous new to discover, because in terms of size and sights, this city is hard to beat. But perhaps it is the great distances that make specifically picking out details so interesting, doubling or even tripling the number of sights. Perhaps it is the view upwards that makes us block out the mundane and go into raptures.
Paris lives for us as a city that likes to enjoy life to the fullest, but often it is lived on a small scale.
Technique: Hasselblad 500CM, Ilford Delta 400, digital scan
Year of origin: 2022

08/10/2026

on-wall photography (2019-ongoing)
“on-wall photography” is a photographic process I developed further through my own formula. Similar to the technique of fresco or secco painting, a photographic image is created directly on a suitable wall or other surface. The image is not printed onto paper, canvas, or another carrier; instead, the surface itself becomes the photographic medium.
The process is based on analogue photographic principles. Just as a negative is traditionally exposed onto light-sensitive photographic paper in an enlarger, a negative is exposed onto a specially prepared area of the chosen surface. The image is then developed and fixed directly on the wall. Through this process, the photograph becomes part of the architecture, while the character and materiality of the wall become part of the image.
The resulting work is therefore inseparable from its physical surroundings. Each surface, with its particular texture, structure, imperfections, and history, influences the final appearance of the photograph. Rather than functioning as a neutral support, the wall becomes an active component of the image and makes each work unique.
The process is carried out entirely by hand. The finished images are protected against UV exposure and other external influences and are designed to have archival qualities. Depending on the environment and conditions - whether indoors or outdoors - their expected lifespan can range from several years to potentially centuries.
The technique also reflects an interest in more sustainable forms of photographic practice. Wherever possible, I work with biodegradable chemicals, considering the environmental impact of the photographic process as part of the artistic practice itself.
On-wall photography thus exists somewhere between photography, painting, and architecture: a photograph without a conventional photographic support, permanently situated within the space in which it is created.
Technique: analogue, wall, enlarger, light-sensitive suspension, analogue development solutions
Year of origin: 2019-ongoing.

05/10/2026

digital pinhole camera (2017)
This photographic project explores the possibilities of a self-built digital pinhole camera. These initial experiments in colour range from varying degrees of sharpness to soft, grainy images, depicting familiar domestic surroundings, an old Gothic structure, and the rural landscape.
At first glance, using a modern DSLR capable of exceptional sharpness and detail to deliberately produce images that appear blurred, imperfect, and almost antiquated might seem counterintuitive. Yet this contradiction lies at the heart of the project: an attempt to move against the prevailing pursuit of digital precision, using the very technology that embodies it.
The pinhole camera abandons the conventional lens, sacrificing sharpness and detail in favour of a different visual language. In return, it offers a particular optical quality: straight lines remain straight, free from the geometric distortions often introduced by conventional lenses. The resulting images possess a certain stillness and simplicity, allowing familiar surroundings to appear strangely distant or detached from the present.
There is also a natural affinity between this photographic approach and the subjects themselves. Architecture, domestic spaces, and especially nature seem to carry an inherent sense of age, as though they existed beyond the moment of their recording. Combined with the visual language of early photography, these scenes acquire an almost timeless quality. The project is an exploration of this tension between old and new, precision and imperfection, and the possibilities that emerge when contemporary technology is deliberately used against its own conventions.
Technique: Nikon D800, pinhole
Year of origin: 2017

01/10/2026

details (2020)
“details” is a photographic work shot entirely on analogue film, created across the city. The images focus on fragments of urban space - small observations, incidental traces, and overlooked corners that might otherwise remain unnoticed.
The photographs were made using expired slide film, processed as colour negative film. The resulting shifts and irregularities of the material become part of the visual character of the work, adding another layer of unpredictability to the otherwise seemingly ordinary details.
Rather than presenting the city as a whole, the work isolates individual moments and fragments: signs of absence, traces of human presence, architectural details, and encounters between the built environment and nature. A discarded object, an empty space, a window at night, a bridge, a wall, or a fragment of a building can become a point of attention.
The photographs move between different times, atmospheres, and distances. Day and night, darkness and sunlight, movement and stillness coexist within the series. Some images feel immediate and familiar, while others become almost abstract through their perspective or the conditions in which they were photographed.
Together, the photographs form a fragmented portrait of the city - not through its landmarks or defining features, but through the details that surround them. The work is an attempt to look beyond the obvious and to give significance to what usually remains peripheral.
Technique: expired 35mm slide film (crossed), digital scan
Year of origin: 2020

29/09/2026

demarcation line (2022)
An analogue report from the demarcation line between genius and madness, where light and shadow face each other and the romantic idyll is not a stepchild of the shadow. An urban look at a rural reality, written on ISO 1600.
Shot on black-and-white film, the work moves through a landscape of shifting distances — from intimate fragments to more distant views, from nature to traces of human presence. Light and darkness continuously reshape the familiar, allowing the same landscape to appear at times serene, at others obscure and almost unsettling. The photographs remain caught between these states, somewhere between observation and projection, idyll and unease.
Technique: Leica R7, Kodak T-MAX 3200, digital scan
Year of origin: 2022

23/09/2026

North Atlantic Light (2021)
The impact of the North Atlantic light and the handwritten signature of the past – an analogue reflection on the occurrence of hidden gems as seen by a visitor seated in the back rows.
Technique: Leica R7, Rolleicord Va, Fuji Pro 400h, Kodak Portra 400, Bergger Pancro 400, digital scan
Year of origin: 2021

21/09/2026

shifting (2021)
Before the day turns into night
all the voices on the beach fade away.
Darkness pushes itself over the city
and leads with gastronomic temptation
people to their tables
under the fading sky.
The moon shows up
and the crowded waterways
fall silent.
Hunger strays alone
through the night of artificial lights
and for one moment
the whole city and me -
taking a deep breath.
Technique: Hasselblad 503CX, Ilford Delta 400, digital scan
Year of origin: 2021

Address

Methóni

Website

http://www.stephanweixler.com/

Alerts

Be the first to know and let us send you an email when Stephan Weixler Photography posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Want your establishment to be the top-listed arts & entertainment in Methóni?