During my adolescent years I was offered as a present small automatic camera. Every chance I had, I used it to collect memories of vacation time, of friends, of celebrations or just simple moments I life.
Much later, some teachers helped me discover a different world in photography a world that I had not fathomed it existed; a world in which photos do not come into existence as mementos, instead they constitute unique photographic works, ambiguous and equivocal reflections of the reality. Since then, I have come to know the work of many eminent photographers, a study I often make reference to, and I take pictures with the intention, -quoting Garry Winogrand-, to see what the objects I’m interested in look like when photographed.
I choose to take pictures in real time. I do not set the scene. In any case, the choice of the angle and the time frame of the photograph already predetermine a kind of stage set up. I do not set up the persons I take pictures of. I believe that the people who are not aware of the camera, or the ones who have been accustomed to the lens to the point of ignoring it, have an expression more authentic than the one they would have if they were aware of the presence of the camera or if they posed.
I take pictures unconsciously having no preliminary studies or compositions in mind. Just right before every shot, there is a moment in which the real time slows down, stops. During the time gap which is created, the time in-between, space transforms itself into a composition. Everything takes the right place, while the excess is left out of the frame. When the shutter drops and the picture is taken, time returns into its normal flow, and space takes its previous shape.
I choose my photographs distancing myself, as much as possible from the recollection of the shooting. The conditions of the photographic process and the thoughts or emotions of that very moment do not partake in this selection. These depictions are reflections of the real world, but in a way different than the original, timeless, depictions of fractions of time. They do not contain emotions nor interpret reality. They are self-existent and timeless. They are open to any interpretation.
2008, 95 pages, 23X26cm, 63 b/w photographs