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3 Comments

  1. Warwick Cairns
    February 21, 2018 @ 1:28 pm

    Interesting approach.
    Most of the figures in the pictures are moving out of the frame rather than into it, or else they are looking away, towards things or destinations we can’t see – especially in images 1 and 2.
    In image 1 there are leading lines, in the form of white lines painted on the road, but they point away from the main figure, towards a traffic light.
    In image 3 there are two figures not interacting: a face on a billboard and a young man walking by, looking in the opposite direction.
    There are scenes with the potential for interaction and storytelling, like the Mary Poppins wall mural – but she’s looking into empty space.
    Then there are empty tube stations and night-time streets.
    The approach seems to be to avoid showing interaction, emotion or ‘decisive moments’ and instead to present a somewhat cold and dystopian vision of London.
    Is this deliberate?

    Reply

    • Matteo Ceschi
      February 21, 2018 @ 2:18 pm

      Ciao Warwick,
      as friend and painter Pietro Geranzani said to me, probably I’m deeply attracted/fascinated by “periferic elements” like Italian filmmaker Luchino Visconti. I see the street through the lens as a theater scene: often characters coming in or going out of the scene are the elements that give rhythm to the plot. Best, Matteo

      Reply

    • Matteo Ceschi
      February 21, 2018 @ 2:20 pm

      I usually shoot the “moment zero” of situations: no good nor bad interactions between subjects. Matteo

      Reply

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