beatrice zervas code noir style ioana nicolescu

When I first met Beatrice Zervas a couple of years ago, she was modeling for a Romanian designer’s show, Lucian Broscatean, during Romanian Creative Week in Iasi. Fast forward one year, and she had somehow convinced me to pose for her… in a water tank. In Stuttgart. I said “why not?”.  And just a few days ago, her project “Karyatides” premiered at World Art Dubai. 

Dressed head-to-toe in black, with an outfit polished down to the last detail and a stage-ready effortless-chic makeup look (that definitely took effort), Beatrice Zervas had that kind of mysterious aura that makes you instinctively pull out your phone and sneak a few photos—more or less discreetly. She seemed distant, a bit untouchable, completely absorbed in her role. That was until the show ended and we found ourselves laughing over ice cream in the lobby of a grand hotel.

As we chatted about everything and nothing, I discovered someone with an intense, almost explosive inner world—the kind that doesn’t really know how to come out gracefully… so it just bursts through. Her passion and need for art and self-expression became even clearer a few months later when Beatrice invited me to join her photography project, convinced I bore a striking resemblance to the French-Romanian princess Martha Bibesco. I mean… who was I to argue?

That’s how I landed in Stuttgart last summer, excited to see Beatrice Zervas again—naturally, the adventure started with ice cream at her favorite pastry shop. A few days later, I was literally submerged in a water tank: Beatrice, accustomed to being in front of the camera, had somehow convinced me — the one who prefers to stay behind the lens — to switch roles. And perspectives.

Beatrice Zervas in New York, photo by Daniel Murtagh

 

1. Your project “Karyatides” explores the role of women in society by revisiting the myth of muses and caryatids. It is also your first major photographic project – you have been working on for several years. What attracted and made you choose these figures as the center of your series?

In my view, art is a phenomenon that often selects the artist rather than the other way around. Initially, there is a small seed that settles in the depths of one’s soul, waiting for the right constellation of time and circumstance—what we might call coincidences or synchronicities—to awaken and flourish. The figures of the muses and the caryatids emerged in my consciousness during such a phase of creative stirring. Their classical associations with feminine strength and sacred support resonated deeply with the early inklings of this project. Over time, these mythological figures grew into central motifs, guiding both my conceptual focus and the overall trajectory of the work.

2. You told me that the decisive moment for this project was Francesca Woodman’s exhibition you saw at the Gagosian Gallery in New York, when you saw her collage Blue Print of a Temple. How did that epiphany turn into your artistic direction?

Francesca Woodman’s works transcended the female body into a realm reminiscent of ancient architectural supports—caryatids—elevating womanhood to an almost timeless ideal. When I encountered her Blue Print of a Temple, I experienced a moment of profound insight. In Woodman’s compositions, the woman is not merely a subject of observation but is transformed into a structural and aesthetic pillar of meaning. Recognizing these “living columns” as contemporary embodiments of mythic forms, I felt compelled to pursue a project that celebrated the sublime beauty and quiet resilience of women, echoing both the grandeur of antiquity and Woodman’s poetic vision.

Beatrice Zervas – an artist at work, Stuttgart 2024, photo by Albane Dumas

 

Behind the scene, me helped by Titi & struggling with water’s pression, Stuttgart 2024. Photo by Beatrice.

 

3. Of Romanian origin, you live in Germany since ever and are a reputed clinical psychologist who feeds on a lot of art. Skilled in front of the camera as a model, now you’re moving behind it. Why did you choose to photograph models in water and how does it influence the expression and message of each image?

I was born in Romania but carry a rich European heritage with German, French and Russian roots which shaped my multicultural perspective. The water element emerged naturally as a setting for portraying my karyatides, in part because it grants an essential sense of motion. These submerged figures, in constant movement, challenge static notions of beauty and fortitude. Water underscores the strength and adaptability of the women I photograph, enhancing both the physical and symbolic depth of each image. It is as though the water itself accentuates their power, resilience and capacity for transformation, mirroring the fluidity of identity and experience.

 

When encountering each woman, I would intuitively sense that she possessed an inherent energy or essence linked to a particular muse or archetypal role. Each participant became a reflection of the qualities I perceived—their individuality shaped the form and character of the caryatid they would embody.

 

4. Beatrice Zervas, you say that for you the process of photographing becomes almost an act of trance. How do you feel this moment of loss of control and what role does “Kairos” play in your work?

Plato teaches that eternal Forms subsist in a transcendental realm, a hyperouranios topos located “beyond the heavens”. When I photograph, I feel as if I momentarily step into that realm of timelessness. During my “creative trance”, I believe I become a conduit, sensing and striving to replicate a dimension that is true in an absolute sense, yet not tangible in everyday reality. This aligns with the concept of Kairos, the propitious moment when time folds into itself and the artist, by losing conscious control, becomes most receptive to the influx of ideas from that hidden world.

5. You have photographed very different women for “Karyatides”, who probably wouldn’t have met each other without you. Who are they and why is there only 22 of them?

I was profoundly moved by the depth of Francesca Woodman’s artistic legacy, achieved within her tragically brief life. In homage to each year she lived, I created a caryatid corresponding to that time, resulting in a series of 22 figures. When encountering each woman, I would intuitively sense that she possessed an inherent energy or essence linked to a particular muse or archetypal role. Each participant became a reflection of the qualities I perceived—their individuality shaped the form and character of the caryatid they would embody. In a way, they each carried a fragment of this living, mythic lineage, united by the project but distinct in their personal expression.

 

Persophone recreated by Albane Dumas, underwater photo Beatrice Zervas, Stuttgart 2024

 

6. Personally, I can say that the underwater experience was very technical and different from anything I’d ever experienced before. The pressure pushed me constantly to the surface, which is why we had a lot of fun during the shoot. How did the models react to posing in the water, and what other challenges did you face? Did the experience change everyone’s self-perception?

The underwater environment is characterized by limitations—specifically, the limited time the model can stay underwater due to oxygen shortage. This shortness of time, coupled with the constant movement, creates a kind of liminal space where the model is both physically vulnerable and, paradoxically, powerful. The girl in the water becomes a goddess, freed from the rigidity of the earth. And then something magical happens between the lens and the mise en scene. The resulting images often surprise both me and the models, revealing aspects of the self that lie dormant until awakened by the dance of water and camera. This is truly an exceptional situation. You can’t see yourself in the mirror and practice poses, so it’s only natural to be surprised to see yourself in the photo afterwards. But as far as I know, everyone was pleasantly surprised.

 

beatrice zervas code noir style ioana nicolescu

Me as Sappho AND Irinni, as in Arwen’s artistic vision, shooted under water in Sttutgart, 2024, as part of Kariatyden photo project. Poem written by Simona Nastac.

 

7. In mythology, Eurydice is often seen as a victim and Sappho as a symbol of love and art. Why did you choose me for Eurydice and Sappho, two iconic figures so different in history, fate and personality?

These two figures form a fascinating dichotomy. Plato expresses this indirectly: Sappho was beautiful and intelligent and he felt great admiration for her.

In many ways, Sappho could be considered the first psychologist—her poetry delves deeply into the nature of love, desire and emotions, resonating throughout Plato’s dialogues. He even refers to her as the “tenth muse” in the Anthologia Palatina.

Eurydice, on the other hand, embodies the archetype of a modern woman who demands emotional reciprocity and suffers under the burden of narcissistic attachments. In the Symposium, Plato emphasizes the sincerity and sacrifice inherent in true love, as opposed to superficial attempts to escape boredom. By combining Sappho’s soulful introspection with Eurydice’s determination for equality in relationships, I wanted to paint a nuanced portrait of female strength. I chose you for this role because I perceived these qualities in you. And whether I’m right or wrong, only you can answer.

8. Eurydice in your vision becomes an autonomous figure who claims her own destiny. How do you see this change of perspective in relation to the classical myth, especially today when women’s role is globally discussed so much ?

I think that here is rather the subject of femininity traits that has to be seen from another perspective, and not be bound to gender. What does it mean to be empathic, emotional, vulnerable?

Reimagining Eurydice as an autonomous individual reflects a modern reconfiguration of classical archetypes. Rather than relying upon external validation or rescue, she asserts her own agency and identity, emphasizing the universal human capacity for empathy, emotional expression and vulnerability. These qualities, often labeled as “feminine”, should be understood as essential virtues for all individuals, regardless of gender. When we decouple traits like sensitivity and intuition from restrictive labels, we liberate them to become universal markers of humanity. This perspective challenges preconceived roles and recognizes that empathy and vulnerability can coexist with dignity and strength, reframing our appreciation of both mythic and contemporary figures.

 

Beatrice Zervas aka Arwen and me as EURIDICE, underwater shooting, Stuttgart, 2024

 

9. You combine drawing, painting, AI, and photography in your work. How do you decide which elements remain natural and where to intervene digitally?

My creative goal is to create dream worlds that transcend everyday reality. The only inherently “real” aspect is the model’s presence and authentic interaction during the shoot. I mix my own drawings and paintings with AI. These interventions help me bridge the gap between a purely photographic record and a more imaginative or symbolic landscape. I believe this approach is in keeping with our current zeitgeist, in which the boundaries between natural and artificial are becoming increasingly permeable, encouraging viewers to question what is authentic and what is constructed.

10. In a constantly changing world characterized by new technologies and “cancel culture,” how do you think your images succeed in establishing a dialogue between the past and a complex and challenging present?

Anthropologist Eleana Yalouri’s work underscores how the Acropolis occupies a space in the Greek cultural imagination transcending historical or political significance and taking on something sacred. By drawing on ancient structures, myths and forms, I hope my images similarly tap into a dimension of the sacred inherent in all of us. In a world characterized by rapidly changing social and technological landscapes, evoking these time-honored symbols can foster a dialogue across eras. It suggests that heritage, memory and tradition, even as they evolve, remain deeply important and can provide a stabilizing or reflective counterpoint to the turbulence of modern life.

 

The contemporary landscape is fraught with immense pain and imbalance, particularly in how masculine and feminine energies are distributed and perceived. If I imagine a continuation of Karyatides, it would involve seeking ways to foster a healing equilibrium between these forces—both culturally and personally.

 

11. How has so far the project been received by those who have participated in it, the public and critics? Was there a reaction or interpretation that surprised you?

From my understanding, all the models—my “mermaids”—would joyfully return to the water in an instant for another session. Their enthusiastic response attests the sense of liberation and empowerment they found in this unusual setting. Observers and critics have offered a range of reactions, often noting that the images conjure thought-provoking, even unsettling, spaces. These photographs can function simultaneously as mirrors, confronting viewers with reflections of their own emotions, and as portals, opening up imaginative avenues beyond everyday experience. The most surprising reactions came from those who found their personal narratives unexpectedly resonating with the underlying mythic elements, reaffirming the timeless relevance of such archetypes.

12. What’s next after “Karyatides”? Will you continue exploring these themes or move in another artistic direction?

At the moment, I prefer to leave the question of future directions open — hence, “no comment.” The creative process can be unpredictable, and I embrace the possibility of new inspirations leading me somewhere I cannot yet foresee. Sometimes, it is best to let the work itself gestate without external expectations.

13. If you were to envision a future for this project, how would you expand the concept? 

The contemporary landscape is fraught with immense pain and imbalance, particularly in how masculine and feminine energies are distributed and perceived. If I imagine a continuation of Karyatides, it would involve seeking ways to foster a healing equilibrium between these forces—both culturally and personally. Muses and caryatids manifest wherever resilience, creativity, and compassionate strength converge, from grassroots social movements to avant- garde artistic collaborations. My hope is that by calling attention to these timeless feminine principles, we can rediscover them as catalysts for empathy and harmony in an increasingly fragmented world.

The opening of Arwen’s Karyatiden photo project will take place in Athens, on 26th of April at iFocus Gallery, Ippokratous 13, Athina 106 79, Greece and can be seen until the 10th of May.

What an honour for me to be, on my first shooting as model, to land directly on the exhibition’s poster!

 

 

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