ph: Marco De Santis
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Artist statement
Am I a photographer? Who is a photographer? Why do I take photographs? I continually ask myself these questions.
Perhaps because, for me, a photograph can capture, save and recount a moment. Not a still moment but a living portrait; the feelings, sounds, smells, memories, the potential.
My photography is shaped by my background; in my country hometown human interaction is the foundation of life, you cannot escape others! I photograph people, places and objects in documentary, fine art, still life, portraits. The thread between these is the story behind the subject. A human presence infiltrates each instant, each image.
In Hidden, I explore the world of memory through images of objects and their details. Each image is personal, an item chosen specifically by an individual, with which a person has created a relationship and which they consider to have become a part of them
In Entropy, I try to sculpt memories; layering experiences, describing spaces and chaos, resulting in abstract images. Colours, objects, people and lights are entwined in a concert of dissonant sounds inviting me to reflect.
In Nostalgia, through the shapes, the edges, and the lights in black and white, I try to trace the presence of the human beings in my life. I'm interested in photography that keeps a memory alive, that shares experiences. I want my photography to talk frankly and to convey my intimate vision.
Each photograph is a padlock secured on the bridges of our lives, it recounts the people who lived that moment – locking it forever.
Bio
I photograph for the simple desire to do so. With my photography I live my personal instants, and I draw from them a personal line of emotions and childlike amazement.
When I was a child, I spent 2 weeks in Germany with my family; with a camera given to me by my father, I recorded the Italian people and places I encountered. I was 12 and since that moment I have been taking photos.
That experience changed my life. I realized that I had been struck by the beauty, simplicity, and dignity of daily life.
My first love, the photographer who first gave me a new vision is Robert Frank: I was always impressed by his documentary photography, and when I picked up his book for the first time ‘The Americans’, I was enamored.
One of my last meetings I had in Paris, was with the Russian photographer Gueorgui Pinkhassov. I consider him to be like a documentary photographer, but with a really, new, unique vision. In his book “Sightwalk”, the reader dives into the ocean to discover the treasures that Pinkhassov captured.
This kind of photography is not easy to understand immediately, instead the viewer must pause and reflect, in order to feel the emotions the photographer captured in the images.
Maybe I’m going to take a different approach to my photography today.
The reaction I aim to evoke in the viewer evolves with my life. I’d like to appeal to those who want to experience my thoughts. I’m not looking for the instants, but I want to convey the intimacy of my vision.
Following Uta Barth's thinking, I want my photography to be like an empty vessel that the viewer stands before. From that very moment the viewers must fill this vessel and project themselves into a space which is both public and private.