Richard Whitlock is a visual artist, sculptor, and photographer. His works have been exhibited widely and his photographic work presented in Afterimage, Photomediations Machine, and in Joanna Zylinska’s Non-human Photography (MIT Press 2017).

He studied at the University of Oxford and Brighton School of Fine Art. He has taught at the International University of Greece, the School of Art and Design of Saint-Étienne, France, and the American College of Thessaloniki, Greece. He lives in Greece.

Video installations

(2022) The White Tower, ‘Urban Landscapes’, National Museum of Kutaisi, Georgia.

(2022) The Street, Helsinki Photomedia, Helsinki, Finland.

(2020) Present continuous, ‘So far so close’ Center of contemporary art, Thessaloniki, Greece.

(2016) Mount Olympus, International Association for Media and Communication Research conference event, Charles Wilson building, Leicester University, UK.

(2015) The Street, ‘Time and the image – images of crisis’, Greek Film Archive / CAN Gallery, Athens, Greece.

(2015) The Port, ‘Diasporas’, 50th Dimitria Arts Festival, Thessaloniki.

(2012-13) The Street, ‘Places of Memory – Fields of Vision’, Center for Contemporary Art, Thessaloniki.

(2012) The Street, Queens College art department, Klapper Hall, The City University of New York, New York, USA.

(2009) The Hospital, ‘Kiss Kiss BANG BANG’, Espace Vallès, Grenoble, France.

(These videos can be seen on Vimeo)


(2009) ‘Aletheia – Positions in Contemporary Photographies’, 9th Photography Biennale, Meilahti Museum, Helsinki, Finland.

(2008) ‘Captivated by Bakhchisaray’, Palace of the Khans, Bakhchisaray, Crimea, Ukraine.

Sculpture installations

(2017) Light/buoyant Puzzle Sphere, Greek pavilion, 7th Beijing Art Biennale, National Museum of China, Beijing, China.

(2010) L’âge d’or, International Design Biennale 2010 / Atelier Favier artist in residence, Musée de la Mine, Ville de St-Etienne, St-Etienne, France.

(2008) Standing Wave, Divan Hall, Palace of the Khans, ‘Captivated by Bakhchisaray’, Bakhchisaray, Crimea, Ukraine.

(2007) Double Cube, Bazaar Hammam, 1st Biennale of Contemporary Art, Thessaloniki, Greece; 4th Tashkent International Biennale of Contemporary Art, Uzbekistan.

(2006) Colonne Oblique, ‘Maîtres d’œuvre’, Palais de Justice, St-Étienne, Ville de St-Étienne, France.

(2004-5) White Balance, ‘Cosmopolis I – microcosmos >< macrocosmos’, State Museum of Contemporary Art / Macedonian Museum of Contemporary Art, Thessaloniki.

(2003) Untitled tower, ‘Atoma–Individus’, Ecole supérieur des beaux-arts de Marseille / Galerie du Tableau, Marseilles, France.

(2002) Untitled sculpture installation, Atelier 33, Marseilles, France.

(2002) Underground Tower, Moni Lazariston, Festival of Thessaloniki.

(2002) Sphere, Bissell Library, American College of Thessaloniki.

(2001) ‘Atoma’, Warehouse III, Port of Thessaloniki.

(2001) ‘ΠΡΟΓΡΑΜΜΑ’, Shchusev State Museum of Architecture (MUAR), Moscow, Russia.


‘Perspective and Memory in Photographic images’, Membrana /4 “Augmented”, Ljubljana, Nov 2018.

‘The Port’, Photomediations Machine, London, Mar 2016.

‘The Power of Perspective in the Photographic Image’, in Mika Elo and Marko Karo with Marc Goodwin (eds.) Photographic Powers – Helsinki Photomedia 2014, Helsinki, Oct 2015.

‘The Street’, interview with Gregory Sholette, Afterimage, Rochester NY, Vol 41 No 4, Jan/Feb. 2014. https://tinyurl.com/mpjdx893

‘Non-perspectival photography – towards a post digital visuality’, Photomediations Machine, London, Nov 2013.

‘Expanded view photography : the rejection of central perspective in art’, in Lundström, Jan-Erik (ed.) Kuinka valokuvaa katsotaan (How to know photographs), LIKE, Helsinki, 2012.

(These articles can be accessed on academia.edu).

Avant-hier, le soir by Bernard Dumont, with 25 drawings by Richard Whitlock, éditions ‘Harpo &’, Corbières, 2002.

Lectures, Symposiums, Residencies

How emerging technologies are limiting our visualities through reliance on machinic perspective. International Association of Photography and Theory, International Conference of Photography and Theory ICPT, Cyprus, Nov 17-20, 2022.

Altering space-time in composite photographic images: Can time have more than one dimension? Helsinki Photomedia 2020, Helsinki, April-May 2022.

Lessons in anti-perspective from China and Byzantium, University of Ioannina, Greece, 22/03/2021

Anti-perspective in Byzantine and Chinese painting, China Central Academy of Art, Beijing, 20/09/2017

Photography and the construction of reality, School of Architecture, Aristotle University of Thessaloniki, 06/04/2016

Non-linear time: non-linear perspective, Experimental Cinema Festival ‘Time and the image – images of crisis’, Greek Film Archive, Athens, May 2015.

Non-perspectival photography – towards a post-digital visuality, Helsinki Photomedia, Helsinki, April 2014.

Material Matters, Action Field Kodra, Thessaloniki, Sept 2014.

Perspective and Anti-perspective in Art since Antiquity, International Hellenic University, Thessaloniki, 14/03/2012.

Artist in residence, Queens College, New York, April – May 2012.

Le refus de la perspective en art, Ecole Supérieur d’art de design de Saint-Etienne, France, 20/3/2010.

Artist in residence, Atelier Favier, St-Etienne, Jan – Feb 2010.

Parallel projection in film and photography, School of Fine Art, Aristotle University of Thessaloniki, Greece, 5/5/2010.

Expanded view photography : the rejection of central perspective in art. Symposium: ‘Knowing Photographs’, Finnish National Academy of Art, Helsinki, 29/1/2009.

Languages, translations

Richard Whitlock speaks English, French and Greek. He has translated poetry and art criticism from Greek and French into English and worked as editor and accredited translator of art publications for the Municipal Art Gallery of Thessaloniki, the Greek State Museum of Contemporary Art (Costakis Collection), the Goulandri Museum of Cycladic Art, the Center of Contemporary Art of Thessaloniki, the Greek Ministry of Culture (Venice Biennale 2013), and the A.G. Levendis Foundation, Cyprus.