Observing my own practice, I realized how the work of the photographer it is comparable to the work of the collector. The collector is a scavenger who wanders around, with an open mind, ready to grasp and absorb, without filter. My approach to image collection it is strictly linked to my first-person experience, where impulsion and sensible recognition play a fundamental role.
Each visual behaves as a puzzle’s piece, offering a glimpse of the bigger picture but never revealing it in its entirety.
This collection process of photograph’s landscapes follows different paths, which mostly may seems intricate and non-logic. A mix of attraction and impulsion drive my eyes towards a certain part of the landscape.
But then, during the editing process the sense comes back in place: this consistent and compact collection of photographs is the result of views of countries where I lived, such as The Netherlands, United Kingdom and Italy, compared to places that I visited – Brazil – that have created a strong impact on my own memories and experiences.
In this flow of decisions making, the emotional energy create real work in the build-up of the artistic expression. Photograph’s perception is similar to language and text perception: whilst looking at an image it comes natural to create a bond with the content, the spectators connect most of the time with their own experience, thinking most of the time of themselves.
In this sense, my puzzles don’t have solutions, they are like more invitations.
After years of collecting images, I unconsciously developed specific tools of observation. One of the most striking, is the tendency to shoot pictures vertically than horizontally. Wether it is a photograph of human subjects, a texture or even a landscape, the way I see has mainly been vertically-oriented.
Stepping back from the most traditional manner of taking horizontal photographs, which became the standard for movies recording, at the fundamental there is a perceptive reason: having two eyes side by side we tend to think of natural scenes as more extended in width direction.
The series “11 Landscape Landscapes” serves as an experiment to force this disposition to shoot vertical. The images has initially been shot in portrait mode, and subsequently crop into landscape orientation. In doing this, the intent is to optimize the use of the space, and perhaps an attempt to disrupt my mind and execute a change of perspective.
The creation of a format or a standards has always been favoured for economic and production reasons. The cultural consequence is that a contemporary man is able to distinct a novel from a thesis just by observing the type of paper used at first glance. A format, it is not anymore just a simple object, but soon becomes a psychological category.