Costas Spathis’ Zero Gravity (Vol 2) (2023, Photography) distills the chaos of movement into an almost painterly abstraction of bodies in space. Captured from an overhead perspective, the image shows a sea of swimmers dispersed across an expanse of turquoise water. At first glance, it is a scene of ordinary recreation—but the vertical viewpoint strips away depth and orientation, rendering the figures as if they are suspended midair in a state of weightlessness.

Each swimmer becomes a mark within a broader visual field, their limbs frozen in diverse gestures that evoke both randomness and rhythm. Together, they create a dynamic constellation, like brushstrokes scattered across a vast blue canvas. The repetition of forms—arching backs, outstretched arms, fluttering legs—suggests a choreography without choreography, a collective dance that emerges organically from chance.

In Zero Gravity (Vol 2), Spathis reframes the sea not as a backdrop but as an infinite stage for human movement. The photograph blurs the boundary between documentary and abstraction, inviting viewers to see patterns, beauty, and meaning in what might otherwise be dismissed as fleeting, everyday leisure. It is a work that captures both the individuality of gesture and the harmony of the collective.