GIAMMARIO CORSI (Bari, Italy)
My name is Giammario Corsi, i was born in 1989 in Bari, Italy. In 2013 i graduated in Industrial Design at Politecnico di Bari. In March 2017 i accomplished a Master Degree in Photography applied for Cultural Heritage at ISIA Urbino. Since 2015 i collaborate with the association Osservatorio Fotografico, based in Ravenna, Italy, that leads a research project that aims to create an archive of the city through the interpretation of various photographers. In 2016 i had the chance to start an internship at Guido Guidi’s studio in Ronta, Italy that lasted more than a year. Since 2017 i moved back to my hometown where i am working to my photographic research.
As a photographer it can be really though for me when it comes to words and speaking, however i believe my work speaks about photography itself. In a certain way it investigates the possibilities that come through the use of the medium of photography.
In my images i search for something that Walker Evans, decades ago, called transcendence, which is a peculiar aspect of photography that in fact is the moment subjects portrayed lead to something else and different from what they seem in the real world. This is something that really can happen with any subject. A fundamental part of this process is to try and experience various things in the real world because it mostly happens without the control of the author, and moreover it often only becomes visible after a certain period of time.
In my work i sometimes try to bring poetry, literature and cinema as references to the photography medium in order to create new possible languages, or as silent guides towards the construction of a new series.
This particular series that i’m presenting here is a sort of a diary of a particular period in my life. In fact two years ago i moved to Ravenna, in Punta Marina Terme to be exact, which is a small village by the sea.
Being there was a completely new experience for me, so i started to wander around camera in hand, trying to figure out where it is that I now live. Part of the photographs i took during this period went into this series, which takes its name from a mnemonic created by astronomers to remember the spectral type letters, OBAFGKM being the stellar classes in order from the hottest to the coolest.
Somehow the spirit of the mnemonic is similar to the photographic work of those months, and i thought that it was just a way to take complicated things less seriously.
In the series in fact very little happens but, in a way, photography itself happens transforming everything into something else.
In the end i guess this work is somehow like a diary of daily photographic happenings set in a small town narrating its everyday encounters.
Practice Statement: How does photographing on film (or using your material photographic process of predilection) inform your artistic practice?
I guess that one of the reasons why i still photograph on film is that i need to separate for a while from the work itself. When left apart the photographs rest and sometimes can get even better, but, most of all, i can get a certain distance from it in order to have a more lucid eye.
When it comes to editing i don’t want to have any kind of rush and if the pictures are too “fresh” i cannot look at them in a correct way. With film i’m forced to keep that distance, that time dilution so from the moment i take a picture, to the moment i can see it as much as 6 months can pass, a period of time in which i have the chance to really digest the picture itself and every emotion connected to it.
Another reason is that film negatives are tangible, a sort of material evidence of what you did, something that you cannot cancel unless you burn it which, as radical as it may sound, is part of the process to take some good photographs sometimes. In a way film remains the best approach to understand the path you’re into. Whereas with the digital medium there’s nothing tangible and it’s more connected to numbers and maths, which obviously can be lost in a blink of an eye.