In Extremis: Body against consciousness in photo project Sandro Giordano
The Italian photographer does not just take the moments of the crushing fall of different characters. "My photos are about people who live at a grueling pace and are experiencing sudden outages," says Sandro Giordano. "When the demands of the modern world are already too great to cope with, the body rebels against consciousness."
Sandro Giordano was born in Rome on October 6, 1972, studied scenography at the Institute of Cinematography and Television Roberto Rossellini. After the institute he worked as an engineer of light and sound equipment in Roman theaters. In 1993 he studied acting in one of the best private schools in Rome, and the following year began to build a professional career as an actor, playing in the theater and acting in film. Since October 2013 Sandro devotes himself entirely to the photo project "In Extremis".
Giordano calls his photographs of this project short stories about the world of falling people. His exhausted characters suddenly lose consciousness and, falling, do not even try to escape. They are extremely exhausted and oppressed by everyday life, because they constantly maintain a certain external appearance instead of just being.
"We live in a distorted world of plastic surgery, which perpetuates stereotyped images that feed a given marketing model," says the photographer. - I believe that perfection is in imperfection. It is precisely with strong contrasts, fragility and humanity that each individual is different from the others.
I hide the faces of my characters so that the body speaks for them. This fall is the point of no return. There is a saying that you need to reach the bottom to start moving up. The fall of my characters is their bottom, for they have reached their last feature, beyond which their false self can not pass. Everyone clutches in his hands an object symbolizing this falsity. This pretense is represented not only by objects, but also by clothing, hairstyles and location. Everything that is seen in the picture represents their pretense, and only the sprawling body expresses the truth.
In my frames I never use mannequins; for me posing professional actors, able to interpret what the bodies do not reflect, because I want the invisible to become obvious. Since my childhood, I've always loved Charlie Chaplin, Laurel and Hardy (the most popular comedy couple in the history of cinema), because they made me laugh. In their films, we often see how terrible things happen to the characters, serious accidents ... falls ... The instinctive reaction is confusion and embarrassment about the unfortunate fate of the character, but then the same awkwardness results in releasing laughter. This is an effect that I want to recreate through my photos: tell the tragedy through irony.
I look at a broken person with love and affection, and do not feel like an exception. It is this feeling of empathy that allows me not to judge, but to share stories that I tell in the hope that if I succeed in making the audience laugh, this will be a favorable prerequisite to believe in a better and more authentic future."