Μαρία ΜπανούταI was born in Athens and I have studied Classical Guitar, Pedagogy of Music and Physical Therapy. My relationship with photography started when I met my teacher Platon Rivellis in 2001 and attended his “Creative Photography” course as well as a Technical course in photography by Manos Lycakis. I have been a member of the “Photography Circle” society ever since. I have participated in photo exhibitions and presentations. My first solo exhibition under the title "Mirror" was held on 25 September 2019 at iFocus Gallery in Athens, Greece.

I am keen on Fine Arts and Social Sciences, so apart from Photography, I have studied and attended classes or workshops in Painting, History of art, Classical as well as Modern dance, Theater, Singing, Psychology and Sociology, Pedagogy and Philosophy.

During my photographic course there have been moments that I wondered about the role of photography in my life. Today I believe that photography is a way to connect with my nonverbal memory, which is accumulated in a memory tank as time goes by. I have the feeling that the contents of this tank have to do with the way I am touched by desire and loss. I draw on this same tank, to communicate with other people’s artistic expression, whenever this communication is possible. On my way to the inescapable death I have not found a more direct way to experience or put into shape this second and parallel internal life of mine other than this of Art.

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Reviews of my work:

Maria is probably my only student equipped with an internal compass. Her photos, no matter what their content, do not deviate from her inner goal. I enjoy her photos and always look forward to seeing the ones to follow

Platon Rivellis, July 2017.

It is desirable for the photographer to have a specific vision because it protects him from the temptation of detours. On the other hand, this advantage may transform the photographer into a producer of specific images and trap him in what he already knows about. Maria Banouta moves with confidence and ease between these Symplegades (Clashing Rocks). She photographs very sparingly and with a steady compass. Yet, she manages to create photographs which while successfully assert a kinship between them, also have the great gift of underscoring their personal identity. Even when she takes photographs of herself she gives the impression of coming out of herself and each time deals with it as a new and different model. The final overall result shifts from the objective to the dreamy space and all her models, and above all herself, are included in the design of a bridge that connects materiality with the spiritual.

Platon Rivellis, 2016