Continuing a topic started elsewhere, to recognize what appears slightly out of place, slightly dissonant, to detect with the resulting photographic image the distortion and absurdity is for me a survival technique in this strange time. In this second series that I am presenting, objects will not be the protagonists: it will be mainly people, their more or less caricatured mannequins or effigies of animals that will bring a sense of estrangement, of distortion from a hypothetical straight path.
Humans, humanoids and animals, detached from concreteness, sailing like funny Bulgakovian bipeds suspended in a surreal atmosphere: because many of those who practice photography want, with perfectly legitimate results, to make faces or human beings mainly tell about themselves and about their being subject of the photographic image, before being symbols and indications of the photographer’s thoughts. For me the relationship is exactly the opposite: every figure that I use, and I use this term advisedly, to compose an image is firstly an integral part of a set of signs and symbols that should (when the photo is good) express my point of view, and only afterwards, and subordinately, can reveal a subjective individuality.
