I draw attention to certain aspects of the past that, in contrast to the present, show that our world is neither natural nor inevitable, in an attempt to open up the possibility of imagining a different future. To do so I establish a connection, not nostalgic, but of interest, with specific aspects of certain past eras, while showing a more complex and diverse representation of the world.
I’m both an observer and a fabricator of a world of make-believe, so it’s not clear what I found there in front of my camera and what I manipulate and stage. To me, the narration is the basis of emotional engagement and my goal is for people to respond emotionally to my images. In my photography I do not feel obligated to describe phenomena, therefore I do not consider myself a documentary photographer.
I involve the subjects of my photography in the creation of the final images, my goal is to reorder experience rather than to simply document it, to bend appearances to match my subjective narrative priorities. Of course, places and people appear in my work, but the documenting aspect is only a side effect. There is not detached observation, rather a kind of collaboration.
My projects may last for years, with direct and constant contact with the depicted object, with whom I interact closely. This working process allows me to shoot at close-range giving the pictures a straightness and a natural intimacy that denies the audience the mere observer’s safe distance. The knowledge I acquired through this process allows me to subtract in order to find the simplicity of a situation by reducing it to the essential. In addition, I use black and white, because the absence of the information provided by color, allows me to establish a stronger message. Each color brings its own personality and therefore causes a digression from the work. But black and white limits things and the more limited things are, the more noticeable they become.
The protagonists of my photographs do not monopolize the image with their gaze, avoiding a direct recognition; which implies an invitation to the audience to find their own interpretation of the work. I try to create a space for the viewer to contribute her o his mental associations. My intention is that my images will have several and varied readings, which transcend a casual glance. I enjoy it when the viewer has to stop to decipher an image so that dialogue and complicity are established.
The resulting images invite contemplation so that we can abandon ourselves to the flow of associations of ideas that we raise. It is photography opposite to the continuous flow of images that we are subjected to nowadays, thus setting my photography apart from both, the conventionalism of photojournalism and the conventionalism of social media.