Documentary photographer based between Moscow and Italy.
My projects focus on people assembled in groups, their behaviour and how they are influenced by hyperthings like consumerism, environmental issues and the progressive acceleration produced in society by technology.
The narrative in my stories aims to reveal and question the ordinary way of thinking and living
through documentary photography.
As documentary photographer I strain myself to be critical about the agreed and accepted idea of how reality is portrayed, and to continuously find new forms of realism that are symbols of our times. I strive to do this with a strong ethical approach on the field, constantly questioning my position as privileged European white male in relationship with the viewer and, most important, with people in my stories.
Interested in the Accelerationist philosophical movement, my work aims to explore the complexity of current social structures within the eco-eco crisis, questioning their compatibility with technological innovations of our time.
We are constantly affected by a stack of entities massively distributed in time and space that forms an entity in its own, one that is impossible for humans to see or touch directly - climate change, capitalism, geopolitical instability and technological disruption are few examples of what are called “hyperobjects”. How to represent contemporary technological issues by means of traditional documentary photography? A shift toward a new visual documentary language that best fits those new relevant topics is required. My work aims to introduce, along the ordinary routine of documentary photography and its historical and sociological frameworks, a new framework based on the Flusserian concept of technical image: a media-theoretical framework that combines insights from neurosciences and image-making technology, with those of continental philosophy and cultural theory. A framework that opens up to nonhuman photographic techniques, tailored for addressing issues like the computerisation of workforce, or any other issues involving the translation of a physical reality into a virtual world.
We live a post-truth era where the language introduced by alt-right and populist movements is winning the cultural war against fact based rationality by forcing “lonely masses” inside echo-chambers, its belief system protects and assimilate external voices -of any orientation- into further reinforcement of its own worldview, avoiding any dialogue in order to scatter and distract society. No conversations - only empty chatter.
The goal is to push photojournalistic routine - with its selection and evaluation of facts - beyond the mere observation, recognising in facts another level of reality, an abstraction that is proper to the fact and yet is not determined by it. A "conceptual prehension" as described by Whitehead’s words, where the elaboration of the abstract narrative yields more about the meaning of the facts themselves.
Pictures are followed by abstraction, which is followed by understanding and intent.
The struggle to develop a new critical visual language comes along to what has become a political struggle for building a sustainable path in documentary photography. A path which leads to the most effective use of quality time to dedicate to visual, philosophical and story related researches - which are fundamental in the production of meaningful and informative stories.
I define the struggle as political since equal opportunity and representation are undermined the moment economic capital opens up the doors to reputational capital. Upper-middle classes find a way of moving goal posts in their “opportunity hoarding” by erecting higher economic barriers to employment: first it was university, then it was expensive one-year masters programmes, and now it’s unpaid internships or portfolio-building unpaid work, expensive entry fee for competitions and portfolio reviews, in what can be described as a perverse elitarian mechanism of cashing-in for exposure.
In this panorama the authors have to stive to solidify a united community around the shared goal to guarantee the broadest intersectional representation of society. I commit to this, as part of my ethical approach to image making, as well as part of my everyday life.