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 tell universal yet personal stories in order to penetrate dominant thought and challenge the viewer to undermine its cliches and stereotypes. I strive to tell them 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 behavioural science 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.

 

Inauthentic narratives focused mainly on facts and evidences are therefore helpless and counterproductive against the disruptive power of memes and loud slogans. Journalism and documentary are languages less and less able to reach masses and convey the indispensable information needed to nourish healthy democracies because more and more focused in creating an hyper-reality were nothing is real anymore. 

 

Visual language in my work strives to explore a different way to report facts and to document the world with images. Inspired by Vilém Flusser’s technical images, the objective depiction of things out in the visible world stretches its mirror like functionality to evolve into a projection, more than a linear reflection of visible reality.

 

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.

In this context, documentary images -no staging, no manipulation- are used as honeypot to catch viewers’ attention and lead them in a voyage through abstraction, an allegory style narrative for better understanding the facts underpinning the story.

 

Pictures follow abstraction, which follow understanding and intent.