It is no accident that the photographer becomes a photographer any more than the lion tamer becomes a lion tamer.
I longed to arrest all beauty that came before me, and at length the longing has been satisfied.
—Julia Margaret Cameron
Movement towards the void, fear of the unknown and the instinct of survival define human existence. I try to live up and survive to my convictions, mistakes and doubts.
More and more I find myself being drawn to, and influenced by, the eye Antoine d’Agata views the world through:
“The brutality of the form, the intensity of the vision obligates us, still more than images that pretend to document, to involve ourselves with the reality of what we are seeing. The spectator can exist then, no longer finding himself in the position of voyeur or consumer but as sharing an extreme experience, wondering about the state of the world and of himself…
“…The only photographs that truly exist are the ” innocent ” images. We find them in the family photo albums or in the police archives. Beyond serving as a simple documentation of reality or of a certain aesthetic sense, they attest to the role of the photographer, of his implication, of the authenticity of his position in that moment. The compositions of light, narrative, are no longer, for me, fundamental problems but superfluous lies. What interests me today in an image? The perspective that has justified the act of photography, the interference of the experience, of the ongoing scene, the texture, the material, the meaning of the self-portrait, of the individual, the incoherence of the unfolding sequence, the maniacal reconstruction of the random experience the photographs, like words, are meaningless when isolated…
“To criticize in a coherent manner, the dominant image actually demands from a photo that it is lucid in the midst of its messy situation, from the experience between a glance and a good, hard look, the camera and the unconscious, in its fundamentally tainted rapport with reality and fiction. This approach cannot conceive that within multiplicity, associating technique and practice, sometimes opposite each other in their use of the photographic language, I seek to reveal the inherent contradictions to the ” use ” of documentary photography, that should supposedly transcribe tangible reality while at the same time, do nothing more than report a myriad of experiences.
“I can then make use of the world for my own ends and in a basically solitary experience, remodel it, and transform it at will, almost as if without images, the world no longer exists.”
And another great interview with him for your reading pleasure:
When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence.