“I think that no artist is free in our world. Being overwhelmed by “normality” and the average of any society where he/she lives, an artist is a living challenge. He/she always represents the opposite of the idea that all individuals in all societies have of themselves. In my opinion, there always is a margin of freedom, albeit small to a point that it might even be not measurable. I cannot tell you to what extent this is freedom or not, but, certainly, something escapes the mathematical logic of mass culture, for the time being.” Pier Paolo Pasolini (interviewed by Gideon Bachman in 1975)
I was at home looking at my Nikon and it looked at me and kept shooting. It took almost one thousand shots. What was it after? What was I after? I spent the following day, night and morning this way. My Nikon shot and I saw myself on the computer screen: I could not see any sign of feelings or emotions. So I deleted everything and started anew. I made up stories to change that fixed expression on my face. Finally, I surrendered, but I realised that, in order to change that expression, I had to understand it, understand where it came from and why it was fixed there and I could do nothing to change it. My thoughts slipped into and along the path of existence until that moment: actually, I could feel no emotions and my Nikon could not but expose that.
Patishere implies the assertion of instinctive shooting, that technique by which things can be seen because they are “felt” and can be found within the frame, instead of framing what is needed to reveal thought through a tool which may be, by chance or deliberately, a camera.
Artistically, I think I have gone beyond – or, at least, that is my feeling about it – a contemporary trend close to minimalism and conceptual art by following an old but, at the same time, brand new path, my own: Patishere.