#DEPTH
Depth is a project that concentrates on the new procedures of the contemporary popular portraiture.
Starting from the consciousness that in photography the mean has always conditioned the approach to the world around, the image of oneself in space has changed hand in hand with the transformation of instruments. In fact, if at the beginning the portrait was possible almost only in studio, posed and often in front a backdrop, the birth of more handy machines has permitted everyone to become a portraitist and to immortalize events of one’s daily and mundane life. The photographic portrait, which we remember on our family albums, was evidence of an event, an image where the subject displays himself in a space which characterizes directly the recounted moment. Mobile phones, thanks to their handiness and dimensions, become obsessively and prevalently a part of personal life; this generates a substantial transformation of the approach we have in front of the camera (often used as a mirror) which has permitted to everyone to exasperate that almost natural inclination which the human being has toward narcissism.
The family album has been replaced by Facebook and Instagram etc. etc. The necessity to witness constantly one’s online existence generates a wide range of approximate and random images, the focus on the body is emphasized, often forgetting the space around where one chooses to be represented. This project concentrates on new possibilities of framing, on these new “backdrops” and on their mute skill of describing people and new behaviors. After a long research on different social networks, we extrapolated a kind of taxonomic classification of those which are the new most recurring sceneries of the popular contemporary self-portrait, meditating on the invasive approach which this way has acquired in the representation of our intimacy and which widely invests each individual, even the artists.
Afterwards we have reconstructed the environments throughout dioramas choosing to eliminate the figure of the protagonist himself, in this way the backdrops become the portraits of the modern unconsciousness, semblance of our obsessive narcissism.
Starting from the consciousness that in photography the mean has always conditioned the approach to the world around, the image of oneself in space has changed hand in hand with the transformation of instruments. In fact, if at the beginning the portrait was possible almost only in studio, posed and often in front a backdrop, the birth of more handy machines has permitted everyone to become a portraitist and to immortalize events of one’s daily and mundane life. The photographic portrait, which we remember on our family albums, was evidence of an event, an image where the subject displays himself in a space which characterizes directly the recounted moment. Mobile phones, thanks to their handiness and dimensions, become obsessively and prevalently a part of personal life; this generates a substantial transformation of the approach we have in front of the camera (often used as a mirror) which has permitted to everyone to exasperate that almost natural inclination which the human being has toward narcissism.
The family album has been replaced by Facebook and Instagram etc. etc. The necessity to witness constantly one’s online existence generates a wide range of approximate and random images, the focus on the body is emphasized, often forgetting the space around where one chooses to be represented. This project concentrates on new possibilities of framing, on these new “backdrops” and on their mute skill of describing people and new behaviors. After a long research on different social networks, we extrapolated a kind of taxonomic classification of those which are the new most recurring sceneries of the popular contemporary self-portrait, meditating on the invasive approach which this way has acquired in the representation of our intimacy and which widely invests each individual, even the artists.
Afterwards we have reconstructed the environments throughout dioramas choosing to eliminate the figure of the protagonist himself, in this way the backdrops become the portraits of the modern unconsciousness, semblance of our obsessive narcissism.
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