I am not looking for the extraordinary: I am looking for the familiar in the moment when light reveals it.<\/p>\n
I shoot exclusively in black&white, not out of nostalgia or for the sake of formal rigour, but because colour tells too much: it identifies the elements of reality and reassures the observer. Monochrome photography, on the other hand, strips light of its obviousness and restores it as tension: between fullness and emptiness, between what burns and what sinks.<\/p>\n
I do not tell stories of people or places: I tell of the effect a space exerts on those who inhabit it or on those who have just left it. What interests me is never the subject as such, but the moment of friction between the subject and its legibility. I photograph what is almost slipping from view.<\/p>\n
Blur is not a mistake. An blurred image is not a lack of control. Filters neither embellish nor distort to impress: they compress, veil, shift the plane of focus until the subject remains barely recognisable, like a word understood at the very last moment, against a backdrop of noise. They are tools for introducing into the image what the eye always does and what photography usually corrects: uncertainty. A human figure becomes a presence, then a shadow, then a question. A building takes on something more akin to a memory than a fact.<\/p>\n
Contrast is my sole extreme. I work with harsh, almost violent light and deep shadows that reveal nothing of what they conceal. There is no comfort zone in between: every image is constructed on the threshold between the visible and its collapse. Light does not illuminate: it cuts. It divides the world into what exists and what does not yet exist, or no longer exists.<\/p>\n","protected":false},"excerpt":{"rendered":"
I am not looking for the extraordinary: I am looking for the familiar in the moment when light reveals it. I shoot exclusively in black&white, not out of nostalgia or for the sake of formal rigour, but because colour tells … Continua a leggere