I have a diploma in surveying, and studied aesthetics and philosophy at the University. Franco Vaccari is my intellectual mentor and his technological unconsciousness theory my credo. I research what unconsciously I am unable to see about reality, just like about me. I speak with my camera because it expresses a more complex language. Every photograph reveals something I did not know. Each picture is a revelation, and discloses a new perspective. I am intrigued by these epiphanies and I search for these while playing with photographic deformations. I dialogue with new realities, new subjects, and constantly change my position as interlocutor. The dialectics is refreshed any time someone looks at my creations. The epiphany happens again and I see something in the picture I was not aware of. My work is hermeneutic, ambiguous, open. I don’t believe in the photographic immediacy. There is nothing stable in reality and my camera intends to capture this condition. My anamorphic distortions reflect my existential need for revelations. They offer me a way to look at the realm differently. Photography reveals new perspectives, new places, opening unexpected circumstances and revealing unknown personalities. Perspectives open dialogues. Dialogues pose questions. And I explore their intriguing complexity. 


I owe to Futurism and Cubism, and Bacon, of course. I have learnt ambiguity through Jan Dibbets, photographic play through Man Ray, and distortions by lessons of Diane Arbus and Thomas Ruff. The theatrical setting is inspired by the photographs of Andreas Gursky, Sandy Skoglund, Jeff Wall and Gregory Crewdson – whose influence is significant in the A perfect crime series. Philosophically, my mentors are Derrida, his deconstructivist theory and Deleuze. Franco Vaccari, is my intellectual father. The Helsinki School is my artistic referee.





All texts by Irene Campolmi



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