P.S. for the translation Google Translate (Bosnian-English) is adequate.
Boats can remain in the harbor without sailors. Boats can be abandoned at the mercy of marine currents. But a sea-less boat must make people think. A ship with no sea attracts attention and suggests questions about its dry fate. Why does it lie there on dry land after a lifetime in the water? Who was its captain? Who were its sailors? And its passengers? The camera lens records the fate of these boats with no sea and tries to give them back a poetic fate. The camera lens imagines new ports and new sea routes for them. How many lives could these ships with no sea save?
All frames taken in Naxos, Greece, with Fuji X100 and Ricoh GX100
Three plastic men skaters (by ToyBoarders Skateboarders) run around the house: from the fridge to the terrace they challenge gravity. (Shots by FujiFIlm X30)
Each of us has dreamed once as a child of being an astronaut. Years after those reveries, a typical reading lamp from the Seventies and a rubber action figure bring back the childish dream. My FujiFilm X30 did the rest. The sidereal space is now ready to be conquered…
Genoa, December 20, 2018: a whole day dedicated to a photo project. Subject: the collapsed Morandi Bridge. I was in town with a friend, creative designer Federico Ramponi. Guiding us via WhatsApp, the Genoese La7 journalist Paolo Colombo, who suggested most of the places we shot from.
With these 29 b&w shots, I want to play the sense of movement of pain and loss against the granitic immobility that dominates the ghost neighborhood’s streets and buildings under the bridge.
I tried to narrate the neighborhood with its bridge from different angles. The hills around the Polcevera stream have proved excellent observation points and allowed me to have a wider and more complete view of the disaster.
Once at home I realized that my shots possessed a sort of camouflage ability: while I was shooting, I continued unconsciously to see the bridge still intact in front of my camera. The horizon, the electric cables, the houses and the neighborhood with its silent architectural geometries have become substitutes for the missing section of the Morandi Bridge.
The original idea for this photo project was to go looking for Jack London’s traces/footprints in the East End area – London visited the East End ‘hoods in the early twentieth century (see The People of the Abyss, 1903). Topography excepted, nothing remains of that early XXth century London.
Starting from the area of the docks and the London Docklands Museum (immortalized in the first two shots) I pursued my research in Spitalfields, Brick Lane and Whitechapel; very soon an initial disappointment was superseded by the curiosity for the “punk” scenarios/scenes that opened up in front of the lens (I shot with FujiFilm X30 and Fuji X100).
Maintaining a historic storytelling, I physically abandoned the first decade of the Twentieth Century and pushed myself closer, towards the present days. So, I discovered the disciples of Banksy (they could be disciples or… might very well be Mr. Banksy himself operating under new pseudonyms), along with melting pot scenes and punk/street attitude.
No Jack London traces were found, but I consider the famous American writer guided me in a subliminal way during a three-days photo walk. Without sinking into the abyss as he did – at the time, Jack London lived eighty days in the slums with the poorest people in London – I pushed myself beyond “the easy job” and I started to collect photos that interacted with each other (in pairs), turning the visual sketches into a document. Each couple of frames is a single voice in a wider story where social and architectural geometries blend or merge into each other.
London, late January 2019