The photographs of Paris Petridis immobilise moments that can only be registered in motion, fleeting things that flash past a motorist or train passenger. His photographs capture the memory of the glance, not the glance itself. They capture the memory of a road that disappears around a bend, a tortoise crossing a road next to a huge pipeline, without the presence of witnesses. Petridis photographs a Greece that bears no relation to the country depicted on postcards. It is a hidden, forgotten Greece, on the sidelines of social and cultural life. The images in Notes at the Edge of the Road are like a road movie where the protagonist is an invisible human who observed but did not stay. Petridis’ traveller on this photographic journey is like the Nobody of the Odyssey, a shadow of memory on the map of contemporary Greece.