The title of the project becomes a contradiction of the image that reflects the dissolved identity of a deconstructed character, both at imaging level and sonorous, through rough sounds. The auditory illusion is created, in this case, through the conversion of a song in MIDI format, giving the sensation of hearing lyrics, even though a piano is the source of all the obtained sounds. If we recognize the original song, the brain puts in the effort to complete what we hear from the memories it already has with the said song, thus obtaining the auditory illusion.
The choice of the song has a purely subjective motivation, with only selected parts that have been rearranged to compose a new message, but which retain its recognizability due to musicality. (The original song: Placebo – Running Up That Hill)
Images complement the sound, wanting to facilitate a better understanding of the work by creating a visual for the audio message.
Exploring the tension between sound and image as elements that want to describe the same message creates a complete, but unfamiliar audio-visual image that destabilizes any attempt to synthesize the sense of experience.
From its formation, Earth went through many biologic and geologic processes, thus all the traces of its initial conditions have been erased. The external surface of Terra is split into more tectonic plates which over time move one from the other. The middle of the planet is active (hot and liquid), being formed from the molten mantle and the metallic middle, generator of the magnetic field. Atmospheric conditions on the surface have been in their turn influenced in a hasty manner by its forms of life. Those are in a fragile ecological balance, permanently changing.
Relief forms are asperities of the earth’s crust. Ever since the birth of Earth, various factors contributed to their appearance. Many of the existing relief forms took shape hundreds of millions of years ago, they have not remained unchanged, but they have been and still are subjected to transformations, determined by various factors. Thus, Terra’s configurations are in a continuous evolution, relief forms are born, disappear, old forms change etc.
Among the responsible factors for the existence of different relief forms include geomorphological processes like:
1. Aeolian processes – these refer to wind’s activity, more specific to its capacity of “modelling” Earth’s surface;
2. The interaction of living organisms with landforms ( or biogeomorphological processes) can be of various forms and it has a profound importance for the geomorphic system as a whole;
3. The way in which glacial processes interact with other elements of the landscape, particularly hillslope and fluvial processes, is an important aspect of Plio-Pleistocene landscape evolution and its sedimentary record in many high mountain environments;
4. Hillslopes that steepen up to certain critical thresholds are capable of shedding extremely large volumes of material very quickly, making hillslope processes an extremely important element of landscapes in tectonically active areas;
5. Tectonic effects on geomorphology can range from scales of millions of years to minutes or less. The effects of tectonic processes on the landscape are heavily dependent on the nature of the underlying bedrock fabric that more or less controls what kind of local morphology tectonics can shape.
Through the association of types of geomorphological processes to the human body, a relation between the interior (mind, intimacy) and exterior (society, mother earth, the planet as a whole) is created.
The human as an individual in society acts according to the norms that have been imposed upon him, but the human in nature acts instinctual, without being influenced by another thought but its own, the individual is truly free in loneliness, thus nature calls for nature.
Different discoveries ( like the one of Masaru Emoto in 1995: water responds to different stimuli creating snowflakes of different shapes; Suzanne Simard’s discovery: trees communicate with each other and exchange nutrients through a sophisticated underground network) bring us closer to Mother Earth’s world, understanding different ways through which she communicates with the vegetal world, as well as the animal one. Follow this line of thought we can wonder if we are the only beings that act in conformity with free will? Probably not, but we can identify different similarities between human nature and Gaia.
Each photo has been associated with a process that describes it as much as possible, tracing lines between the definition and what is found in the image (hillslope processes with the stomach: the way that mountainsides “give up” huge quantities of material, the same way the dimension of the stomach can be reduced), everything being thought as an analogy, thus each definition can be interpreted as what it is or what it can be.
The images are black and white because it is wanted a detachment of the colour and what it can signify, important being the lines, forms, shadows, being easier to associate them with different processes. Also, the photographs are almost in a macro regime, the intention being that the viewer does not easily identify what he sees, to read the definition and then see the image in a different way.
Photographs of Edward Weston (especially the one entitled “Nautilus”) had a strong influence on this project through the shapes of the chosen subject, the atmosphere transmitted and its mysticism.
Each person perceives things differently, from sensations to colours, people, situations. To eliminate one of those factors (the colour), I decided to build a small part of Spring’s face in black and white. Also, I didn’t photograph the most classic things that would represent Spring (even though the photos illustrate nature or parts of it in a way or another).
Through photographing in monochrome I wanted to highlight the subject, to personify it in a way. I’m not only seeing the grass, but it can represent much more than the obvious; a family, a circle of friends, bad guys, et cetera. Just as Susan Sontag states in her essay, “In Plato’s Cave“, photographs are shadows of reality. They can be interpreted any way the viewer pleases.
The subject of this photographic essay is Spring. For many, Spring can represent change, a new beginning, hope and so on; for others, it’s the most difficult period of the year. Change does not inspire optimism anymore, but fear, suffering. Even if we tend to believe that Autumn and Winter would be the seasons in which the number of suicides is the highest, Spring is the time of the year when this number rises (in some cases with more than 50%). Therefore the subject of this photographic essay it’s suicide.
Diane Arbus once said: “I really believe there are things nobody would see if I didn’t photograph them.” In those photos I see myself. Self-portraits. They are a part of me because they’re the way I perceive Spring. I strongly believe that nobody would see the real me if I wouldn’t photograph.
The subject of this photographic essay it is myself, the photographer; or me, the viewer. The subject of this photographic essay it is me, nobody. Me, anyone. Anything. It’s easy to give meaning to images. To look for explanations. The hardest it’s to look… to look and no more than that. To not look for answers to questions, or not to question at all. Just as hard, it is to find a subject that’s worth being photographed in a space, in which we are very familiar. In a new space, the eye searches continually and finds almost as much. I tried to find interesting subjects in a familiar space, like the garden. I’ve found what I didn’t expect and still much more than expected.
This photographic essay it’s about anything, anyway, anyone; about ideas. The subjects chosen are mere pretexts for illustrating them, in a way or another. Images are perceived in various ways. The ideas “encrypted” in these photographs are ideas that the viewer conceives. I, the photographer, choose not to send any kind of message through these images. Without this text, they mean anything the viewer pleases.
Being yourself means acting according to your feelings and beliefs. However, what happens when your own self is not conceived for the life in society, but for solitude? What happens when being yourself means not to interact with other people, to not go out of the safe space, to retreat in music, literature, art?
For living in the present society you have to adapt and respect the norms that are transmitted to you. Therefore to create a strong “you”, ready to deal with the challenges of day-to-day life, maybe even a “you” totally different from the true you.
This self-portrait illustrates the search for the original – the most authentic reflection of one’s personality – after the dissociation between the personality’s faces and the lost of identity. The amnesia that made the true one to be lost between fighting “yous” being caused by the lack of time spend to going back to one’s the roots – giving up comfort in favor of self-validation in society.
According to a Japanese belief, each person has three faces: you show the first one to the world, the second to family and close friends, and the third one you don’t show it to anybody, it being the most real reflection of the person.
Through the association of “yous” with the three parts of Sigmund’s theory of personality, we can interpret the image at another level. The processes involved in modeling the personality (id, ego, superego) work together to create a balanced self. However, when one of the processes stops functioning correctly, the personality suffers – this imbalance being considered by some experts the principal cause in the appearance of mental illness.
The almost naked bodies symbolize the personality’s vulnerability in the journey of self-reunification, and the “orphan” faces, the loss of purpose – that of helping the sensible personality to adapt in the society of the millennial generation – a generation concentrated on egocentrism, from which the altruism gradually disappears – without being corrupted by it. The personality’s fists, not tighten, not open are the reservation with which she starts the journey towards the self, the hesitation of taking action thanks to the fear making mistakes. “Hiding” the faces of the characters acts as a mask and has the role of not provoking mercy. The wood brings the idea of femininity in the image thanks to the relationship created between the voluptuousness of the female body and the wood’s curves, and the lack of color helps create an atmosphere that denotes sensibility and mystery. The position of the character in the right brings a plus of oddness, the viewer is left to guess what it is going to do.
This photograph represents a visual metaphor that explores the theme of self-knowledge – of discovering my own capabilities of communicating through visual language – through using different things like body position, atmosphere, framing, using the available space in a more creative way.