14 March 2015
Q) What are the origins of your passion for photography?
A) My passion for photography started with the discovery of a very specific area of this art form: the long exposure (the kind of photography used to make appear deserted the busiest squares in the world, such as Times Square). Even more specifically, I'm in love with a technique called "light painting" (brush with light). One person in particular made me by mentor, introducing me to this peculiar technique: the photographer Chiloé Rosanto . If it weren't for him, maybe, I would never become a photographer. In fact I don't remember a specific interest or a particular predisposition for photography during childhood or adolescence. Capture the mere reality, in a fleeting moment, I was not ever interested.
Q) On your website you invite visitors to see your photos as pure magic. What is for you the magic, and how can you combine it with the art?
A) I think the magic affect anyone. One of the novels/movies that I was more fascinated and influenced is "The Prestige". One sentence in particular always keep in mind: "If you can fool them (the viewers), even for a moment, then you can surprise them...". Behold, this is what I do: try to trick the viewers eye, in order to surprise them. The concept of illusion it's been the centerpiece of the cinema, since its origins - I'm a cinephile and a filmmaker - but the same cannot necessarily be said for photography. Photography (forerunner of cinema from a mere technical point of view), however, has not always had intended to deceive. More often than not the case in the cinema, photography can be used as a mere tool to capture reality (as in the works of Terry Richardson). Sometimes photography can tell beautiful stories (as in the works of Robert Frank). My goal is to tell a story, tricking the perception of the observer (my works teem with optical illusions), without the use of assistants, stage lighting and - often - capturing the same subject in multiple locations. My dogma is the following: take only in celluloid (35 mm for now) without using Photoshop! I want that those'll see my photos (and their negative attachments), felt the same amazement that wrapped the audience of the first film of the Lumiere brothers. I want to awaken the human eye from an apathetic acceptance of ultra-retouched digital images, such as photographs (graphic design would be the right category).
Q) There is a recall in the photo series "ghosts". How are significant for you ghosts? Is there a particular reason about this link?
A) The recreate a "ghosted" effect, once familiar with light painting technique, is not particularly difficult. In fact, among the few "light painters", in the world, almost all of them are confined to create this - sometimes fascinating - effect. I'm not completely sure of the existence of ghosts, but I'm always fascinated by the idea that there may be. Fiction and movies often have explored this possibility. In fact, I have always loved Edgar Allan Poe. As already stated, I don't like recreate the ghost effect (semi-transparency and illusion of movement), unless there's a meaning behind the photo. In this regard I mention the series "Missing in NYC". The idea for this series, consisting in the "capture of ghosts" in the Act of observing their own "Missing Person" poster, came after I have noticed an alarming increase of these posters in subways and on the streets of New York. Dozens of people, during these months, disappeared without a trace. This series is my attempt to explore this aspect - though unlikely - of New York, represented visually, in a different way and - in the opinion of many people - "freaky". "Freaky" than can be the death of many people.
Q) Your favourite subject are women: what relationship do you have with the female sex and why do you like taking intimate moments?
A) Who wouldn't like? I had several male subjects (including those of the series "Artists"). That said, I think I'll never shoot a photo, represented a moment of "intimate", having for subject a man. In the beginning, when I had to ask my first subjects to pose for a photo (New York teems with aspiring models and actresses), I decided to opt for photographic studies, because I felt it was more professional: basic requirement to make feel safe models, not having a portfolio and, therefore, not having credibility as a photographer. Often my models have an attendant during the photo shoot (on a couple of occasions even their boyfriends... strange situation!). Later, during the spring and the summer, I got to do a lot of outdoor shots (Dumbo it's my favorite neighborhood) and the next winter - now with a minimum portfolio behind - I decided to abandon the studio photographs. After all, my technique is about as far from that kind of photography. In fact I don't use other lights more than a torch. At the time of the photoshoot, the "location" is completely in the dark. The only light is that of the torch that I points to the bodies of my subjects. The procedure itself is intimate, isn't it?
Q) You work in a city world capital of contemporary art. What is your relationship with the city? And what made you want to go from your hometown Bologna?
A) I don't think I'd "gone away", from Bologna, as I live in New York from 8 years (after all I'm coming back for this show). Once graduating from DAMS in Bologna (cinema and Visual Arts), I came in New York to attend the New York Film Academy. After a few months of the start of the course, I already knew about wanting to remain in this city and try my luck, as a filmmaker, in the United States. Like many others before me, I was seduced by this crazy, chaotic and wonderful city! After the 1-year-ma-program to NYFA, I worked at the same school, as an assistant instructor of 16 mm film. Later I was hired as a video editor and sound designer at the Optic Nerve (I collaborated in the editing of TV commercials and web). After the first - tough - years I found a literary agent and, as such, I'm a writer of WGA (Trade Union, well known as Register of American Writers).
Q) If you provided to a visitor -who does'nt know your works- a pass key for their understanding, what would you suggest?
A) I would suggest visitors to forget how seen so far, preparing to something new. You must leave soothed by the images and, after beeing inebriated, observe the negatives (tangible proof of what makes my photos the only one). I would they thought "wow" after they realized that, unlike many works exhibited today, the effects were not "photoshopped". Nowadays there is too much retouching, photography digress in the boundary of graphics and I don't like this. There's a picture I am very proud, "Ghost From the Pond", the poster for the exhibition. As a magician, not ever reveal my tricks but I would just suggest that, over the pond, where should be the model, there's a darker area: that beautiful imperfection, and her secret, shows that I retouched the pictures to your computer.
Q) I must say that your models are very beautiful. Have you ever ran away a compliment, or have you ever had an intense empathy for someone of them?
A) During the photo shoot? No, I wouldn't say. I'm a professionist. I'm friend of many of my models. With others are in contact (FB, in particular). My Muse is certainly Tina Krause: is very professional and knows what it's like to work for one of my photos. One of my photographic "snap" can take up to 35 minutes, taking into account the time spent by the model for change and for the preparation of the set. I don't think I could even go for the mind to make a compliment, in those moments of panic! I'm highly concentrated (often stressed), when I make a picture.
Q) I'm curious to know what photographs there are in your House.
A) I don't want to appear vain or egocentric, but my photos cover the walls of my house, making it a sort of a small museum. As filmmaker/photographer, I guess any environment, including my home, as a potential set. I can't imagine a more tedious set than one plagued by blank walls.
Q) On your site please refer to Rrose Selavy by Duchamp. He tells himself to an art critic: "I wanted to change my identity", and "I wanted to choose a Jewish name, being Catholic this step would be a change". Well, how important is for you the change of personality in your photos? And how you have fun choosing the titles of your works by playing with words?
A) I have always been denied to choose the titles of screenplays, but put titles to photos for me is very easy. Sometimes the source of titles bud from the location of the photo and its history. I am fascinated by the different facets of the personality, which compose the human psyche. I'm interested in people who can laugh of themselves, as well as subjects capable of seducing oneself and -why not? -measures to commiserate themselves.
Q) Always in Rrose Selavy there's a anagrammate that meaning "eros c'est la vie": how important is it for you eros? In your photos we can find the sublimation of your most secret impulses?
A) The photo can be used as a channel for their "instincts" (I don't think had particularly hidden), but can also be used as representation and exaltation of human beauty (women most capture my attention). Sometimes a nude person may not have anything to do with "instincts" of the artist. An example is the photo "Exploring Sins", where the model, captured in two poses, reads the Bible and ... anyone have seen the picture knows what happens in the second installation. The idea behind that photo was meant to be a sort of provocation towards the most laughable aspects of Christianity in America (think of the tele-preachers) and the consequent bigotry. Everything said: I'm a practicing Catholic. I know: you don't say.
Q) Adopt this extraordinary technique: painting light/light brushing, fun to create different scenarios. Depending on your point of view, what film scene would you recreate with your technique?
A) I'm plenty of movies that I love. If I had to choose a movie based on the photography, definitely I would choose Apocalypse Now, and his director of photography Vittorio Storaro. If I had to recreate a scene, instead I'd do Bertolucci's movie "The last emperor". The frame that underlies the film poster. Wonderful!
Q) We are at the end of the interview: relax. What is the most useless application that you don't want that I done?
A) Did you use Photoshop? (laughs)
Q) Last question: for the exhibition you'll return to Bologna, the gorgeous Bologna. If it were a woman like you imagine it, and what would you say straight off?
A) Surely it would be "La maya desnuda" by Goya. With beautiful and generous hips it's a Venus to play much with the looks each other. What I'd say? What the eye cannot perceive.
Chiara Giglio
A) My passion for photography started with the discovery of a very specific area of this art form: the long exposure (the kind of photography used to make appear deserted the busiest squares in the world, such as Times Square). Even more specifically, I'm in love with a technique called "light painting" (brush with light). One person in particular made me by mentor, introducing me to this peculiar technique: the photographer Chiloé Rosanto . If it weren't for him, maybe, I would never become a photographer. In fact I don't remember a specific interest or a particular predisposition for photography during childhood or adolescence. Capture the mere reality, in a fleeting moment, I was not ever interested.
Q) On your website you invite visitors to see your photos as pure magic. What is for you the magic, and how can you combine it with the art?
A) I think the magic affect anyone. One of the novels/movies that I was more fascinated and influenced is "The Prestige". One sentence in particular always keep in mind: "If you can fool them (the viewers), even for a moment, then you can surprise them...". Behold, this is what I do: try to trick the viewers eye, in order to surprise them. The concept of illusion it's been the centerpiece of the cinema, since its origins - I'm a cinephile and a filmmaker - but the same cannot necessarily be said for photography. Photography (forerunner of cinema from a mere technical point of view), however, has not always had intended to deceive. More often than not the case in the cinema, photography can be used as a mere tool to capture reality (as in the works of Terry Richardson). Sometimes photography can tell beautiful stories (as in the works of Robert Frank). My goal is to tell a story, tricking the perception of the observer (my works teem with optical illusions), without the use of assistants, stage lighting and - often - capturing the same subject in multiple locations. My dogma is the following: take only in celluloid (35 mm for now) without using Photoshop! I want that those'll see my photos (and their negative attachments), felt the same amazement that wrapped the audience of the first film of the Lumiere brothers. I want to awaken the human eye from an apathetic acceptance of ultra-retouched digital images, such as photographs (graphic design would be the right category).
Q) There is a recall in the photo series "ghosts". How are significant for you ghosts? Is there a particular reason about this link?
A) The recreate a "ghosted" effect, once familiar with light painting technique, is not particularly difficult. In fact, among the few "light painters", in the world, almost all of them are confined to create this - sometimes fascinating - effect. I'm not completely sure of the existence of ghosts, but I'm always fascinated by the idea that there may be. Fiction and movies often have explored this possibility. In fact, I have always loved Edgar Allan Poe. As already stated, I don't like recreate the ghost effect (semi-transparency and illusion of movement), unless there's a meaning behind the photo. In this regard I mention the series "Missing in NYC". The idea for this series, consisting in the "capture of ghosts" in the Act of observing their own "Missing Person" poster, came after I have noticed an alarming increase of these posters in subways and on the streets of New York. Dozens of people, during these months, disappeared without a trace. This series is my attempt to explore this aspect - though unlikely - of New York, represented visually, in a different way and - in the opinion of many people - "freaky". "Freaky" than can be the death of many people.
Q) Your favourite subject are women: what relationship do you have with the female sex and why do you like taking intimate moments?
A) Who wouldn't like? I had several male subjects (including those of the series "Artists"). That said, I think I'll never shoot a photo, represented a moment of "intimate", having for subject a man. In the beginning, when I had to ask my first subjects to pose for a photo (New York teems with aspiring models and actresses), I decided to opt for photographic studies, because I felt it was more professional: basic requirement to make feel safe models, not having a portfolio and, therefore, not having credibility as a photographer. Often my models have an attendant during the photo shoot (on a couple of occasions even their boyfriends... strange situation!). Later, during the spring and the summer, I got to do a lot of outdoor shots (Dumbo it's my favorite neighborhood) and the next winter - now with a minimum portfolio behind - I decided to abandon the studio photographs. After all, my technique is about as far from that kind of photography. In fact I don't use other lights more than a torch. At the time of the photoshoot, the "location" is completely in the dark. The only light is that of the torch that I points to the bodies of my subjects. The procedure itself is intimate, isn't it?
Q) You work in a city world capital of contemporary art. What is your relationship with the city? And what made you want to go from your hometown Bologna?
A) I don't think I'd "gone away", from Bologna, as I live in New York from 8 years (after all I'm coming back for this show). Once graduating from DAMS in Bologna (cinema and Visual Arts), I came in New York to attend the New York Film Academy. After a few months of the start of the course, I already knew about wanting to remain in this city and try my luck, as a filmmaker, in the United States. Like many others before me, I was seduced by this crazy, chaotic and wonderful city! After the 1-year-ma-program to NYFA, I worked at the same school, as an assistant instructor of 16 mm film. Later I was hired as a video editor and sound designer at the Optic Nerve (I collaborated in the editing of TV commercials and web). After the first - tough - years I found a literary agent and, as such, I'm a writer of WGA (Trade Union, well known as Register of American Writers).
Q) If you provided to a visitor -who does'nt know your works- a pass key for their understanding, what would you suggest?
A) I would suggest visitors to forget how seen so far, preparing to something new. You must leave soothed by the images and, after beeing inebriated, observe the negatives (tangible proof of what makes my photos the only one). I would they thought "wow" after they realized that, unlike many works exhibited today, the effects were not "photoshopped". Nowadays there is too much retouching, photography digress in the boundary of graphics and I don't like this. There's a picture I am very proud, "Ghost From the Pond", the poster for the exhibition. As a magician, not ever reveal my tricks but I would just suggest that, over the pond, where should be the model, there's a darker area: that beautiful imperfection, and her secret, shows that I retouched the pictures to your computer.
Q) I must say that your models are very beautiful. Have you ever ran away a compliment, or have you ever had an intense empathy for someone of them?
A) During the photo shoot? No, I wouldn't say. I'm a professionist. I'm friend of many of my models. With others are in contact (FB, in particular). My Muse is certainly Tina Krause: is very professional and knows what it's like to work for one of my photos. One of my photographic "snap" can take up to 35 minutes, taking into account the time spent by the model for change and for the preparation of the set. I don't think I could even go for the mind to make a compliment, in those moments of panic! I'm highly concentrated (often stressed), when I make a picture.
Q) I'm curious to know what photographs there are in your House.
A) I don't want to appear vain or egocentric, but my photos cover the walls of my house, making it a sort of a small museum. As filmmaker/photographer, I guess any environment, including my home, as a potential set. I can't imagine a more tedious set than one plagued by blank walls.
Q) On your site please refer to Rrose Selavy by Duchamp. He tells himself to an art critic: "I wanted to change my identity", and "I wanted to choose a Jewish name, being Catholic this step would be a change". Well, how important is for you the change of personality in your photos? And how you have fun choosing the titles of your works by playing with words?
A) I have always been denied to choose the titles of screenplays, but put titles to photos for me is very easy. Sometimes the source of titles bud from the location of the photo and its history. I am fascinated by the different facets of the personality, which compose the human psyche. I'm interested in people who can laugh of themselves, as well as subjects capable of seducing oneself and -why not? -measures to commiserate themselves.
Q) Always in Rrose Selavy there's a anagrammate that meaning "eros c'est la vie": how important is it for you eros? In your photos we can find the sublimation of your most secret impulses?
A) The photo can be used as a channel for their "instincts" (I don't think had particularly hidden), but can also be used as representation and exaltation of human beauty (women most capture my attention). Sometimes a nude person may not have anything to do with "instincts" of the artist. An example is the photo "Exploring Sins", where the model, captured in two poses, reads the Bible and ... anyone have seen the picture knows what happens in the second installation. The idea behind that photo was meant to be a sort of provocation towards the most laughable aspects of Christianity in America (think of the tele-preachers) and the consequent bigotry. Everything said: I'm a practicing Catholic. I know: you don't say.
Q) Adopt this extraordinary technique: painting light/light brushing, fun to create different scenarios. Depending on your point of view, what film scene would you recreate with your technique?
A) I'm plenty of movies that I love. If I had to choose a movie based on the photography, definitely I would choose Apocalypse Now, and his director of photography Vittorio Storaro. If I had to recreate a scene, instead I'd do Bertolucci's movie "The last emperor". The frame that underlies the film poster. Wonderful!
Q) We are at the end of the interview: relax. What is the most useless application that you don't want that I done?
A) Did you use Photoshop? (laughs)
Q) Last question: for the exhibition you'll return to Bologna, the gorgeous Bologna. If it were a woman like you imagine it, and what would you say straight off?
A) Surely it would be "La maya desnuda" by Goya. With beautiful and generous hips it's a Venus to play much with the looks each other. What I'd say? What the eye cannot perceive.
Chiara Giglio
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