ENTRY DESCRIPTION
The following images is a decoupage of negative was captured between Italy and France on various occasions, from 2018 to the present, and later combined in post-production.

My intention is to shed a faint light on dynamics that keep recurring—they are fragments of an opaque and buried intimacy.

I define them as "vision" because them stem from the need to surrender myself once again to that liquid and polymorphic zone I inhabit every night.
They belong to a dead present that, through its repetition, continues to fascinate and unsettle me—a dream that, by mutating, relies on its visual representation to offer answers that are clear only in their immediate perception.

The monochrome aesthetic is fundamental to the metamorphosis; the eye of darkness is essential for a faithful and profound perception of the event.
I believe the psyche operates on a grayscale before evolving and complexifying into colors.

The human element is at the threshold,distant and undefined,while nature and ruins, concealed by mysterious forces, prevail constantly deconstructing the landscape.
Everything implodes and crystallizes into a point of view that ceases to be subjective, shifting instead to a faceless third-person perspective. In essence, this is all I remember or perhaps the only thing I have repressed.

The shots were taken with a Zenza Bronica ETRS (4.5x6) using Zenzanon 75mm and 50mm PE lenses, combined with 35mm negatives captured with an FM2 and a Nikkor 35mm lens. The film stock includes Rollei Infrared, Ilford, and Kodak black and white. Most of the developing and scanning was done by me, using an Epson V600.

AUTHOR
My name is Andrea Gabriele, and I am a director of photography and photographer.
I graduated in 2016 from the Centro Sperimentale di Cinematografia in Cinecittà, Rome.
I have been working for years in the audiovisual field, collaborating on narrative and documentary projects for both television and cinema.

Alongside my work on set—crafting atmospheres and camera movements—I continue to produce photographic images.
My vision leans toward the dismantling of ordinary symbols and codes, nullifying the conventional meaning of the image and offering a perception that is often disoriented and alienating.

I primarily shoot on film, medium format 4.5x6, in black and white, often using infrared rolls (Rollei) or contrast filters.
Many of the negatives I expose are developed and scanned by me personally.
A complementary part of my work with images is the processing of negatives in Photoshop, using masks, overlays, and chiaroscuro techniques. I do not use artificial intelligence or plugins, as they do not align with my approach.

Although still photography is not my main professional activity, it remains an integral part of my practice, allowing me to develop an increasingly deep and personal point of view.

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