Ordinary Intimacy

We are used to beautiful and spectacular images, in which special moments, wonderful places, extraordinary events, decisive instants are immortalized, as part of that category of established beauty.

As monuments, they are images to be admired. Those who look at them are on the other side, they just look. They don't really participate, they don't feel. The aesthetic condition prevails and becomes sufficient. Those images are somehow impervious.


What interests me instead are the things next to what is considered to be photographed, the obvious things, those of everyday, those things that you would not notice at first.

My research is focused on being able to recreate a familiar moment, not in its visual representation, but in the memory of the viewer.

"Ordinary Intimacy" is a series that collects photos taken over a decade, in places far away or in familiar ones. It doesn't matter geographically where, the eye always looks for those imprecise moments, those without expectation, those among "the things that happen". Bottles on a table, chairs on the street, a silent corridor.

And that’s where it reveals a reality, where you think there is nothing to see.

Marginal, obvious things, transitory views and imperfect spaces are transformed into familiar memories in the eyes of the beholder. That image so easily identifiable, as soon as it’s seen and understood, no longer becomes a subjective memory (mine), but the echo of everyday moments experienced by everyone. The imagination, the memory and the thoughts of the viewer occupy the space in that image, finally allow him to see more.

Photography should slow down the speeding up of image reading processes*. Those simple and apparently undignified objects, the less obvious things, the trivial moments do not make statements, do not explain and do not give answers.

But that nothing to photograph, precisely because of that, awakens perception, memories, smells, a smile. It asks questions and makes the viewer ask questions, so that what is left out of the frame is completed by the observer. And suddenly, that ordinary photograph becomes a representation of the complexity of a completely subjective personal and emotional space. It becomes intimate.

To amplify this, the series is organized in diptychs.

Putting two photos together means giving a trail, tracing infinite possibilities, because two coupled photos are not the same, they elicit a third image, which is neither one nor the other**.

*     Luigi Ghirri

**   Guido Guidi