1. Redox for Galleria del Sale / Artist’s interview: CONAN
    by Claudia Puddu
    Photos by Beatrice Schivo and Claudio Valenti

    -When did you start with this works and why?
    I started fifteen years ago, looking at the graffiti all over the walls of Cagliari and trying to understand their meaning. Then I tried to do the same. But you know, I am still trying to figure out the meaning of everything that I see painted on a wall. I am in a continuous work in progress. 

    -Do you have some iconical characters that you prefer to represent while painting?
    I write. Since the very beginning I have painted for my own pleasure and during my studies, but I really do love write. I do calligraphy and graphics in every way e with all kind of instruments. 

    -Which is you ideal setting?
    I am versatile. As I do love using all kind of instrument to write, I do love write on every surface. It also depends on the situation; for example, if I am writing in the street I have different modalities resulting from the fact that I have to concentrate my work in a little time lapse. 

    -Can you tell us the difference between street art, graffiti and wall painting? Have you been influenced by some of these inclinations?
    I’m really fond of the basics, so let’s start with the murales: they originate from the mexican culture, which commonly re-elaborates folk themes and represents traditional situations. Graffiti, on the other hand, are naturally born clandestine, as a protest act invading the public space. Street art is a new form of muralism, and the only one that can be three-dimensional and two-dimensional both. I said before that graffiti are an unwanted discipline, the opposite of street art, which we can find in the urban space as the form of allowed projects re-qualifying the territory. It is about various arts, including graffiti and pop, and then minimalism.

    -What do you want to answer to those that are still disapproving street art and call into question its value?
    I would tell them that art is both free and freeing, and that we cannot define as art only the one we find inside a frame. This kind of art invades the urban space, but my impression is that sometimes the attention is diverted from what the real problems are. Let me explain: the problem is not a painted wall, the problem is a wall that is falling into pieces, just like the problem is not a painted train, but the train coming late. Disapproving the painting, is often just a way to change the subject matter. This is a form of art that insists on personal emancipation, making art against everyone.

  2. Redox for Galleria del Sale: First week
    reportage by Claudia Puddu
    Photos by Beatrice Schivo and Claudio Valenti

    They call it street art, they call it graffiti, they call it wall painting; I’m walking through the small port of Su Siccu with my notebook, eager to know more about it, and I find, at the bottom left, a little street leading to the cycling lane. The Salt Road makes you feel, for a few minutes, like being in New Mexico: a narrow orange street, tiny walksides, wild bushes and that kind of silence that isolates you, with no need of wearing your headphones because of the noise. Such a nice place, the Salt Road. Fast cyclists are passing by my left, well disciplined while wearing their helmets and their high visibility vests; following them led me to what is going to be, during these two weeks, an open air gallery. The flyover walls, dominating the cycling lane that connect the port of Su Siccu to Viale La Palma, will be canvas. They call it street art, they call it graffiti, they call it wall painting: but I think that, after getting rid of all the sciolism and the proper distinctions, calling it “artwork”, which is generic but maybe more comprehensive, is fairer for those artists that refuse to be stucked inside one definition. At my arrival under the first flyover, the one dedicated to the works of UFOE and LA FILLE BERTHA, a calm mood, dense with preparatory work, reigns over. The main characters of this weekend are not arrived yet, but the place is already crowded with the co-stars of the event; first, the guys from Urban Center, carrying on their shoulders the burden of the unexpected things that occur in every event, then the journalists from the most popular sardinian press agencies, and last, myself and the two photographers that are with me, Beatrice e Claudio. After an initial inspection of the whole area, I start to take a deeper look around. The chromatic impact coming back at me is pretty depressing; the canal, outlined by bushes and weed, wears an unpleasant shade of green, the walls have still attached the signs of ten and more years old posters of Moira Orfei, while the ones that have been cleaned are now showing various grey nuances. I say to myself that a touch of color would not do any harm to a place like that, and I slowly start to rethink about the presence of that canal and the wild nature surrounding the walls, wondering how the artists will use the location to contextualize their works.

    The main theme was given by the organizers, and it is nature indeed. That nature often used as the main subject by artists like CRISA and TELLAS, working under Ponte Vittorio. Beyond the canal, the Sant’Elia Stadium is a sight that stands out, and the artist ZED1, from Florence, is going to work right in front of it. The first day is characterized awaiting the artists. Preparations are, in fact, long. The guys from Urban Center are bringing paint and brushes from a bridge to the other within the cycling lane, trying to avoid collisions with the cyclists that, intrigued, stop in front of the organizers desk, asking me for information, wondering what is happening and what is the meaning beyond the stripes around the walls. They answer with smiles and nods to my explanations, and promise to come back in the afternoon. A fulfilled promise, especially by a family that not only waited with their children for the artists to arrive, but kept running through the cycling lane to inform everyone passing by of the starting event. The artists, one by one, begin to set their place up. ZED1 arrives, stares at the wall from side to side, asks for rod and stairs and immediately begins to work. I blame myself for not renting a bicycle while I am walking for more than an half-hour to join him, then we sit on the sidewalk in front of the stadium and talk about the first strokes of his work, trying to guess what the final result will be. He releases me the first interview of the event, explaining -and almost showing some kind of affection- the illegal side of street art, namely, the writers world, because if it is now possible to have approved agreements on wall paintings, the credit goes to to who made this practice legal when it was absolutely not. While I’m listening to this bearded man who has been working around the world for more than twenty years, a smile comes upon my face when I see the guys of Urban Center borrowing bicycles to move faster from random people passing by. I take a short note on my journal “paint bucket inside the wicker basket of a Graziella”, and I don’t know why, but I find this picture really poetic; maybe the reason is that it is good to see how the efforts of so many young people, spending time to improve their city, are repaid even by a simple gesture like borrowing a bicycle. I spend most of my afternoon watching UFOE, TELLAS, CRISA and LA FILLE BERTHA preparing the wall for the paint. The white paint flows covering what is below, both the impersonal grey of the wall itself and the previous drawings. I am going back and forth to the beginning of the cycling and Ponte Vittorio, and I suddenly bump into CONAN’s wall and, mostly, I bump into his balaclava. I sit near him on a sidewalk in front of the wall, facing the Asse Mediano. A pretty uncomfortable position, near the road, with little chance to see the whole work from a distance. He is rolling a cigarette while I am interviewing him, his balaclava always on, and I am trying to know more about the graffiti and the murales (or wall painting) community; he explains me how murales originates from the popular tradition of Mexico, how street art can also be three-dimensional (just think about those series made through the walls) and how it can have pop and minimalism influences both, while on the other hand graffiti are more a self-referential and egocentric manifestation. We are spacing from the most accurate notions to the definition of the expression “telarsi”, so typical of Cagliari, when CRISA joins us, riding another borrowed bicycle and looking for brushes.

    It’s Saturday afternoon and the dark stain of paint by CRISA is starting to get populated by details, according to his poetics, that depicts Nature invading and almost overcoming metropolises, and his drawing crosses the different shades of blu of TELLAS’. Those two, as CRISA says, often work together and their drawings invade each other’ space. We talk about his projects, not only those in Sardinia, but overseas as well, and I keep looking for differences between graffiti and wall painting, as CRISA defines it. He explains that spray graffiti are one thing, wall painting is a total different one, and street art is, more generically, everything that interacts with the street, from performance to installation. CONAN teaches me his typical greeting, which we use every time I pass by his wall, when my personal acknowledgment finally comes: a stranger in his sixties stops right in front of me, and asks me if I am a writers. Yes, that’s exactly what he said, “writers”. Smiling, I show them the real writers and he runs after them. This street art event is organized by the Urban Center Cagliari association, inside the project “Iniziative di creatività urbana – Inter20”, financed by the Presidency of the Council of Ministers. This means that they have all the municipality permissions, of course, but when the police stopped near the stadium and approached ZED1, I must admit my prejudice: I was sure they wanted to do another inspection and I immediately complained about their ignorance, but suddenly we heard screaming, from the other side of the canal: “Congratulations for your works, they are beautiful!”, and we saw them sitting and chatting with the artists. Meanwhile, the Sconvolts from Cagliari, waiting for their Italy Cup match, are all getting in line to take a piss on the walls. Oh, if only I had a camera with me, or one of Redox’s photographers close by. I’m interviewing LA FILLE BERTHA and UFOE while they are busy finishing their works with their tags; LA FILLE BERTHA is very clear about the distinction of murales, graffiti and street art. She just calls it wall painting, whether it is legal or not, lettering or something else. Just wall painting. UFOE explains that his work in mainly based on murales and writing. These five artists gave me very different opinions about what is the meaning of painting on a wall, and it is pretty obvious how they are represented by styles and worlds that are totally different. But I can still find in each one of them the same desire to express their art as a personal emancipation, interacting and creating a real dialogue with the medium they are working on.

    It’s Sunday and the last works are finished, the last details are taken care of, the paint and the brushes put aside, the construction yard dismantled. My personal research on the graffiti world, the murales and the street art, will go on and will wait until next monday’s reportage to know my very personal opinion (and the artists’ personal opinion, since I made an explicit question in my interviews for them to explain as better as they could what they do and why they do it), but I can close this first article on an emotional note: walking over, under and by the Galleria del Sale, has been a strong brainstorming of memories and feelings. All the artists here have been drawing and painting for more than ten years and are presenting some mature works that reflect their human and artistic evolution. Nevertheless, while I was looking at the works of the artists from Cagliari, I was able to recognize something, a little detail, a clear stroke, that remembered me of that wall near my highschool, or the route of my morning bus, when I was observing the city with my sleepy face, and I was unconsciously taking mental pictures that reappeared thanks to the details found on these Sunday paintings, or thanks to the friendly talk with every artist. The moment was cathartic: Cagliari is beautiful, in every wall.


  3. Redox per Galleria del Sale: Prima settimana
    reportage di Claudia Puddu
    fotografie di Beatrice Schivo e Claudio Valenti

    Read the article in english tomorrow!

    La chiamano street art, li chiamano graffiti, li chiamano pittura sul muro; con il mio taccuino percorro il porticciolo di Su Siccu scovando, in fondo a sinistra, una piccola stradina che conduce alla pista ciclabile, curiosa di saperne di più a riguardo. La via del Sale ti fa sentire, per qualche minuto, nel Nuovo Messico: strada stretta, arancione, piccoli marciapiedi per i pedoni, sterpaglia incolta e un silenzio di quelli che ti isolano, di quelli che non ti fanno venir voglia di mettere le cuffie alle orecchie per contrastare il rumore. Una bella via, la via del Sale. I ciclisti sfrecciano alla mia sinistra, composti, con i loro caschetti e i loro giubbetti catarifrangenti e seguendoli arrivo a quella che per queste due settimane sarà una galleria a cielo aperto. Le tele saranno i muri dei cavalcavia che sovrastano la pista ciclabile che collega il porto di Su Siccu a Viale La Palma. La chiamano street art, li chiamano graffiti, li chiamano pittura sul muro: per andare oltre il nozionismo e le sue dovute differenziazioni credo che parlare di opere, in maniera più generica, ma forse anche più completa, sia più corretto nei confronti degli artisti che non vogliono essere compressi all’interno di una definizione. Al mio arrivo sotto il primo cavalcavia, quello che sarà a disposizione di UFOE e di LA FILLE BERTHA, regna ancora una calma densa di lavoro preparatorio. I protagonisti principali di questo fine settimana non sono ancora arrivati, ma già il posto brulica di tutti quelli che saranno i co-protagonisti dell’evento; in primo luogo i ragazzi dell’Urban Center che portano sulle spalle lo stress e gli imprevisti che colpiscono gli organizzatori di ogni evento, poi i giornalisti delle più diffuse testate giornalistiche sarde e poi io e i due fotografi che mi accompagnano, Beatrice e Claudio. Dopo un primo sopralluogo degli spazi inizio a guardarmi attorno con più attenzione. L’impatto cromatico che ricevo dal posto è un po’ deprimente; il canale, costeggiato da cespugli ed erbacce è di un poco invitante color verde, i muri recano i segni di decenni di manifesti di Moira Orfei attaccati sopra, mentre quelli già ripuliti sono di una variegata gamma di grigi. Mi dico che in un posto come questo un tocco di colore gioverebbe di certo e pian piano inizio a rivalutare la presenza del canale e della natura incolta intorno ai muri, chiedendomi come gli ospiti useranno il luogo per contestualizzare le loro opere. Il tema è stato dato loro dagli organizzatori ed è, appunto, la natura. Natura che viene spesso utilizzata come soggetto fondante da artisti come CRISA e TELLAS, che lavoreranno sotto Ponte Vittorio. Oltre il canale si impone alla vista lo stadio di Sant’Elia, davanti al quale lavorerà l’artista fiorentino ZED1, in trasferta cagliaritana per farci conoscere in presa diretta il suo lavoro. La prima giornata è caratterizzata dall’attesa degli artisti. I preparativi, infatti, sono lunghi. I ragazzi dell’Urban Center iniziano a trasportare vernici e pennelli da un ponte all’altro della pista ciclabile, cercando di evitare collisioni con i ciclisti, alcuni dei quali, incuriositi, si fermano davanti al banchetto degli organizzatori; mi chiedono informazioni, si domandano cosa stia succedendo e il perché delle strisce che delimitano lo spazio di lavoro degli artisti. Rispondono con sorrisi e cenni d’assenso alle mie spiegazioni e promettono di tornare nel pomeriggio. Promessa che viene rispettata, soprattutto da una famiglia che, non paga di aver aspettato con i figli l’arrivo dei primi artisti, inizia a percorrere la pista ciclabile per informare chiunque incrocino dell’evento che sta per iniziare.

    Gli artisti, alla spicciolata, iniziano a organizzarsi. ZED1 arriva, rimira il muro da una parte e dall’altra, chiede pertica e scale e immediatamente si mette al lavoro. Maledicendomi per non aver noleggiato una bicicletta cammino per una buona mezz’ora, mi siedo con lui sul marciapiede davanti allo Stadio e stiamo assieme a guardare le prime tracce del suo lavoro e a chiacchierare circa quello che sarà l’effetto conclusivo. Mi rilascia la prima intervista dell’evento e mi parla, quasi con affetto, della parte illegale della street art, ovvero del mondo writer, poiché se ora si possono avere delle convenzioni per dipingere i muri è possibile solo grazie a chi ha pian piano reso legale una pratica prima illegale quasi in toto. Mentre ascolto questo ragazzone barbuto che da più di vent’anni lavora in tutte le parti del mondo, sorrido vedendo i ragazzi dell’Urban Center che iniziano a chiedere delle biciclette in prestito ai passanti incuriositi, per riuscire a muoversi più agevolmente. Appunto sul mio taccuino “secchi di vernici dentro il cestino di una graziella” e, non so bene perché, quest’immagine mi sembra molto poetica; sarà che è bello vedere come gli sforzi di tanti giovani ragazzi che fanno uso del proprio tempo per cercare di apportare benefici alla loro città, vengano ripagati anche se con un gesto semplice come prestare delle biciclette. Passo la maggior parte del pomeriggio a osservare UFOE, TELLAS, CRISA, LA FILLE BERTHA che preparano il muro per dipingerlo. La vernice bianca scorre, per coprire quello che c’è sotto, sia esso il grigiume del muro stesso oppure dei disegni precedenti. Mentre faccio la spola tra l’inizio della pista ciclabile e Ponte Vittorio, mi imbatto nel muro di CONAN e, soprattutto, mi imbatto nel suo passamontagna. Mi siedo con lui su di un gradino davanti al suo muro, che dà sull’Asse Mediano. Una posizione un po’ scomoda, attaccata alla strada, con poca possibilità di spostarsi per vedere l’opera da lontano, nella sua interezza. Mentre si gira una sigaretta e lo intervisto, sempre con addosso il passamontagna, cerco di capire di più circa la comunità dei graffiti e quella dei murales (o pittura su muro); mi spiega infatti di come i murales provengano dalla tradizione popolare messicana, e di come la street art sia anche tridimensionale (basti pensare alle sedie infilate dentro i muri) e spazi dal pop al minimalismo, mentre i graffiti siano più una manifestazione autorefenziale ed egocentrica di un mondo a sé. Mentre la conversazione spazia dal nozionismo più sfrenato all’analisi attenta dell’espressione cagliaritana “telarsi”, si aggiunge a noi CRISA, in sella all’ennesima bicicletta presa in prestito e alla ricerca di pennelli.

    Sabato pomeriggio la macchia di vernice verde scura di CRISA inizia a popolarsi di dettagli, seguendo la sua poetica, quella della natura che invade e quasi prende il sopravvento sulla metropoli, e il suo disegno si interseca con le diverse sfumature di blu del disegno di TELLAS. I due infatti, come mi spiega CRISA, lavorano spesso assieme e i loro disegni si sovrappongono e si invadono a vicenda. Parliamo dei suoi progetti, non solo quelli in Sardegna, ma anche quelli all’estero e continuo nella ricerca tra le differenze tra l’arte dei graffiti e quella che CRISA definisce pittura su muro. Mi dice infatti che una cosa sono i graffiti con le bombolette spray, ben altra cosa è la pittura su muro, mentre la street art è più genericamente tutto quello che interagisce con la strada, che sia una performance o che sia un’installazione. Imparato il saluto usato sempre da CONAN ce lo scambiamo ad ogni mio passaggio davanti al suo muro, finché non arriva il mio personalissimo riconoscimento: un passante sulla sessantina si ferma davanti a me, mi scruta curioso e mi chiede se fossi anche io una writers. Dice davvero così, una writers. Sorridendo, gli indico i veri writers e lui si dirige a balzelli verso di loro. L’evento di Street Art è organizzato dall’associazione Urban Center Cagliari, nell’ambito del progetto “Iniziative di creatività urbana – Inter20”, finanziato dalla Presidenza del Consiglio dei Ministri – Dipartimento della Gioventù e del Servizio Civile. Questo vuole ovviamente dire che si hanno tutte le autorizzazioni necessarie da parte del comune, ma quando la polizia municipale si ferma nei pressi dello stadio e si avvicina al fiorentino ZED1, ammetto il mio pregiudizio: ero certa volessero fare controlli sulle autorizzazioni e già mi lamentavo su come fosse possibile che non sapessero dell’evento, quand’ecco che li sentiamo urlare, al di là del canale: “complimenti per i lavori, sono bellissimi”, per poi mettersi anche loro seduti a chiacchierare con i vari artisti. Intanto gli Sconvolts del Cagliari, in attesa della partita di Coppa Italia Cagliari-Catania si mettono tutti in fila a fare pipì sui muri. Ah, se solo avessi avuto una macchina fotografica o uno dei fotografi di Redox a disposizione in quel momento. Intervisto LA FILLE BERTHA e UFOE mentre sono impegnati a ultimare le loro opere con le firme; LA FILLE BERTHA è molto netta circa la distinzione tra murales, graffiti e street art. Per lei l’unica definizione è pittura su muro, sia essa legale o meno, sia lettering o altro. Semplicemente, pittura su muro. UFOE mi spiega di basare il suo lavoro su muralismo e writing. Questi primi cinque artisti mi hanno dato in pochi giorni diverse opinioni circa quello che per loro significa dipingere sui muri ed è evidente come si sentano rappresentati da stili e mondi diversi gli uni dagli altri. Ritrovo però in tutti quanti la stessa voglia di esprimere la propria arte come liberazione personale, interagendo e creando una narrazione vera e propria con la superficie con la quale lavorano.

    Domenica i lavori vengono ultimati, gli ultimi dettagli vengono curati, le vernici ritirate, i pennelli riposti e i piccoli cantieri smontati. La mia ricerca circa il mondo dei graffiti, dei murales, della street art continuerà e si dovrà aspettare il reportage di lunedì prossimo per conoscere le mie personalissime conclusioni (e le personali opinioni degli artisti, ai quali ho posto una domanda ad hoc per cercare di spiegare il più possibile cosa fanno e perché lo fanno), ma posso terminare questo primo articolo con una considerazione di carattere prettamente emotivo; camminare dentro, sopra, sotto e affianco alla Galleria del Sale è stato un forte brainstorming di emozioni e di ricordi. Tutti gli artisti disegnano e dipingono da più di un decennio e presentano dei lavori maturi, all’interno dei quali si rispecchia la loro evoluzione non solo umana, ma anche artistica. Nonostante questo, mentre guardavo le opere degli artisti cagliaritani, riconoscevo qualcosa, un piccolo dettaglio, un preciso tratto, i quali mi ricordavano di quel muro vicino al mio liceo, o quel tratto percorso dall’autobus ogni mattina, quando dal finestrino scrutavo assonnata la città e di sfuggita imprimevo nella mia mente fotografie mentali che sono tornate a galla grazie a dei dettagli trovati nei dipinti di domenica o grazie alle chiacchierate con ogni artista. Il momento è stato catartico: Cagliari è bella, in ogni suo singolo muro.

    Potete seguire l’evento sulla pagina Facebook di Urban Center Cagliari o su quella di Galleria del Sale.


  4. Here’s another preview by Claudio Valenti from the reportage coming out today on Redox!


  5. A little preview by Beatrice Schivo from the street art event Galleria del Sale, the first open air gallery taking place in Cagliari, Sardinia, this weekend. Don’t miss Claudia Puddu's article and the unpublished photoset by Beatrice and Claudio Valenti, tomorrow on our website!


  6. Redox for #GalleriaDelSale

    Galleria Del Sale is an italian street art project based in Cagliari, Sardinia, and hosted by the Urban Center, that will take place from today to the 31st of August. Some of the most famous national and international street artists will be there to re-qualify and decorate the territory, and guess who will be there too? Us! We will cover the whole event, we called for the occasion two amazing photographers to do the dirty job: Beatrice Schivo (that was on Redox at the very beginning of our journey) and Claudio Valenti. Our dearest collaborator, Claudia Puddu, will follow them and stalk the artists for the interviews that we will be publishing during the week. But that’s not all, in addition to that, on mondays (the 25th and the 1st) we will have two articles reporting the whole action of the week. You will feel like being there, promise.

  7. Interview#53Gary Benson

    How old are you?

    Where are you from?
    The UK. I was born in Lancashire, I lived in Bath for a long time, and now I live in Shropshire.

    What kind of photographic equipment do you use?
    Almost always 35mm, with HP5 which I push to 1000ASA. My main camera is a Leica M6 TTL with a 35mm lens, but I also have a Pentax MX with a bunch of lenses that I use for things the Leica can’t do, and an Olympus µ[mju:]-II for extreme weather or for when I just want a camera in my pocket.

    What do you do when you are not shooting?
    All sorts. I have a full-time job to pay the bills, and also a very demanding one year old kid and a tumbledown house in the middle of nowhere that needs everything doing to it. Somewhere in there I have to make time to process film and print pictures.

    What was the first photograph you were proud of?
    No idea! Probably one of the first ones I took, but who knows where they are now. I think I was 9.

    How much preparation is there behind your photographs?
    Sometimes a little, but usually none at all. I’m more a photograph finder than a photograph maker. Occasionally I will construct a picture and it will work, but 9 times out of 10 the made pictures fail.

    Have you ever done sacrifices or compromises as a photographer?
    I don’t really know what this means, so I’ll say no. I try to move with what’s happening.

    What is your safe place?
    I don’t know I have one.

    Do you have any obsessions?

    Is there an artist you’ll gladly collaborate with or that you regard with esteem?
    I’m open for collaboration but I’ve never tried it so I don’t know how it would be.

    ▶Would you define your photography as “fast”?
    I try to be fast. All the time I spend taking the picture, the goodness leaks away. If I’m fiddling about with the camera or trying to “get the angle” the picture is coming apart. That’s why I mainly stick to one camera, one lens, one film. I want there to be no thought. Once the picture is taken however I’m as slow as it gets. Films sit around for months until I get around to processing them, then negs sit around until I contact print them, contact sheets sit around until I make workprints, workprints drift on and off walls and between friends until I print them big, and big prints sit in boxes until I decide what to do with them. Most things that get online are at least a year old, but it’s good—every step in the process is an opportunity to lose the weaker pictures. Digital’s poison for me, I’m publishing things while they’re still fresh in my mind and I make all the wrong choices.

    [If you want to see more, find him on inauspicious.com]


  8. Don’t miss Gary Benson's interview on Redox the 21st of August!


  9. Interview#52 Luca Prestia

    How old are you?
    I’m 43.

    Where are you from?
    I was born in Turin and Cuneo is my adopted city.

    What kind of photographic equipment do you use?
    It depends on the kind of photography projects I’m working on. Generally, I use both analogue and digital 35mm reflex, a Holga 6x6, and, once in a while, a Polaroid.

    What do you do when you are not shooting?
    My main job is in the editorial field. But it is very rare that I’m “not shooting”, because I have one of my cameras with me every moment.

    What was the first photograph you were proud of?
    The one I took of an old lady, a woman who fought among the piedmontese partisans during the second World War. It was a snapshot that ended on the pages of a national newspaper

    How much preparation is there behind your photographs?
    A lot, especially since my projects started to have some kind of “serial” basis. I prepare my works long before the time of the actual shooting, choosing carefully the time, the locations and framing.

    Have you ever done sacrifices or compromises as a photographer?
    Sacrifices, yes, especially at the beginning, while I was working as a photojournalist; compromises, on the contrary, never so far.

    What is your safe place?
    If that it’s meant to be the place where I feel the best, well, that is where there are mountains, even better if together with the few people I’m closer. The peaks surrounding me, in every season of the year, have the ability to make me feel safe and protected.

    Do you have any obsessions?
    Yes, many. And I must admit that photography contributed to amplify -pleasantly, in some cases- the already vast range of obsessions.

    Is there an artist you’ll gladly collaborate with or that you regard with esteem?
    There are many artists, both italian and international, that I regard with esteem, and they come from sometimes very different approaches to photography. But in this phase of my “life” as a photographer, I feel very appreciative towards the american photographer Alec Soth, who, in my opinion, is still today one of the most interesting photographers around. I’d really love to spend a week making photos outdoors with Alec Soth!

    ▶ Do you feel a special influence from the italian photography?
    Whoever is a photographer, wherever in Italy or somewhere else, has to deal with who came first or shares the same generation: and those influences, in some measures, direct inevitably the way we shoot. I pursue an idea of photography that is as recognizable as mine as possible, that can somehow reflect my personality and the way I see the world.

    [If you want to see more, find him on lucaprestia.tumblr.com]


  10. Don’t miss Luca Prestia's interview on Redox the 14th of August!