123 90 948
2017 September 17, 3 pm
The complicity and affinity between me and my camera is enormous. The camera is an extension of my body, it follows the rhythm of my thought almost as a supplementary limb.
I have been sensing the gradual dehumanization of society which is a result from the major technological advances. Although I do not totally reject them, I however try, through my images, to create parallel worlds, more human, where I recognise myself. It is in these parallel worlds that I seek comfort to express my senses, my worries, my truths. My photography revolves around people, especially my family and friends, and the background are spaces that mean something to me. We are all, in some way, the result of the environment in which we live and in which we were raised: I am no exception. In the same way that I influence these people with my “self”, I also receive influences that are reflected in my photographs. I shoot, essentially, people. However, in counterpoint, I also photograph their absence. The imaginary and illusory therefore emerge in the balance of the exchange of lived and shared experiences. I recognise my complete inability to take snapshots. For this reason, I don’t usually bring the camera with me, which leads me to use my memory of the “snapshots” that I keep seeing in order to recreate and shoot them later. I experience things, I reflect upon them, and the result from these processes is an image that I keep mentally moulding, until I feel that through it, I can convey the truth, my truth. It is only after this discovery that I begin the execution of the photograph. “My” image becomes the result from the blending of experiences and imagination, mediated by my complicity with the camera. Together we look for parallels that lead us to the final result. Through all my work, the “search for identity” is constantly reflected. An identification number encodes our identity to the whole of society. This number follows us throughout our lives, remaining constant in its abstract logic, despite the experiences, changes and transformations we have been experienced. But the work, which is operated by each of us is, in contrast, confined to a narrower circle, but it is much more revealing of the identity of the individual, largely transcending the objective information that can be accessed through a numerical code. Ironically, from the tiny or even absent sense of parallelism that can exist in these two ways of identifying the person, the idea was born to give to this work the title of 123 90 948. On the one hand, this is a personal identification number; on the other hand, it also becomes the “emblematic” brand of the work I have produced. If such a numerical identifier will never leave me, I am sure that my photographs will always accompany me, since they represent the most important part of my identity.