Snapshot Aethetics feeds on the naïve, sometimes the vernacular
At the base of my research there is an approach that I want to clearly distinguish from the too serious photography that permeates all the layers of the so-called professional photography. My aspiration is to touch those points of photography that rely on a primordial instinct to take pictures, perhaps in a way that is not very Western. This is the reason why I deeply love the way Japanese people relate to the world through the lens of a camera.
As an image maker I tend to become mentally engrossed in what is the result of a day spent taking pictures. I am interested in analyzing the overall vision and then dwell on each single photo, on how I reacted to the visual stimulus in front of me. This mindset is both analytical and broken to try to enter that dimension in which I was when I made the shot. By not giving photography time to marinate excessively, I expose myself to the enthusiasm of fresh meat to be fed to my audience. But I think I am detached enough at the same time to make myself understand what is valid and what is not.
In my perception of reality I want to try to give voice to what others don't dare. For too long we have seen overly clean photographs. Even in the same circuit as street photography there are magnificent photographs that are clean and perfect in composition. Even the proposed anticomposition is often linked to a too perfect idea of the image.
Today I look at Daido Moriyama's work in color and find myself in what I want. I no longer feel interested in appealing to the viewer but rather reacting to what seems to me to be the photograph that interests me. HIROMIX is another point of reference, not so much for the subject of her portraits which is herself but for the aesthetics that she manages to give to each shot.
At issue is the continuation of my research. Today I feel I am a photographer more aware of being able to insert everything I like and that I have learned to love through the study of photography to which I feel most connected. A photograph that can satisfy me visually as much as the one I prefer as an observer and enthusiast of photography.
The idea I have of myself today is rather that of a snapshooter. After being very attached to planning and projects, which still remains in my hearts if someone were to offer me an assignment, today I feel my attention is turned to fragments that I collect during my very long walks. And with these fragments I want to tell my photography, perhaps my artistic vision.
The point is to indulge my instincts more and what makes me thrill more as a creator of images than to demonstrate to someone. I don't care about getting approval: I have to follow what my voice is. A photograph far from any idea of pleasantness. Without fear of having to pass for naive. More than exhibitions, I have always looked to the creation of books. I believe that through KOY, my street zine, I can continue to present this approach.
My Japanese vision and approach can however already be experienced through the three volumes of HARI, that you can buy on my shop:
