Willoclick

Man on the bench - Lisbon (2015) Spoken photography in exchange for a tsunami of images. Reducing the selection to the bone to explore in words the place where all this comes from. I have a particular relationship with almost all my photos: I find them indiscriminately significant but superfluous. Some of them can stand alone, but most of them only make sense when they are part of a stream. Travel, both as a metaphor and as a real event, is often the main theme I pursue. Light is an option that I can't always afford. I purposely leave it to chance, but it is part of the attitude of acceptance that underlies the Eastern spiritual discipline. The idea of control is a deception. Who really has control? The finger muscle on the shutter release button, or the eye attached to the viewfinder? The events chased or those that surprises you? The technical and cultural training or the innate ability to know how to break the rules? Be that as it may, an image remains stuck on the sensor, ready...

Twisted Tree - Malta (2014) There is the photographic act, the slow and pleasant wandering with the camera around your neck (in my case, clasped in the right hand), the art of watching and cutting out each scene to a rectangle in your head, the search for subjects, backgrounds, colors, the main characters, a happy and profound involvement with the scene. It is a sort of liturgical contemplation, a respectful homage to the Witness. It is undoubtedly the highest creative act. Actually, it could even take place without a memory card, clicking freely without having to preserve the prey, and perhaps leaving the image free is all that would be left to do... or maybe not. To go back to those places, those scenes, in the safe environment of your living room, and look at everything from a new point of view, the technical one, the one conditioned by the rules of thirds, the cuts, and the infinite possibilities of post-production. A new way of expressing one's creativity, perhaps less profoun...