April 1, 2022
Photography by Giorgio Gerardi
Interview by Melanie Meggs
Life can be a little like autopilot at times. We get so used to the same objects being around us that it almost becomes background noise. There's no denying that it can be easy to feel like we're missing out on the little details that make life special. Italian visual artist Giorgio Gerardi was determined to change this. He wanted to take notice of the banality in his surroundings and to bring it into focus. What he ended up creating is something truly remarkable.
Giorgio was born in Mestre, not far from Venice, and eventually moved with his family to Favaro Veneto. A lover of art, he set out on a personal journey using a camera as his guide. With a fascination for clouds, leaves, earth, sand, and everyday objects, Giorgio began his project 'Daily'. Through this project he wanted to decontextualise these everyday objects and give them an individual identity and a new creative life. Weaving together shapes and colours in an unexpected way, Giorgio has created something visually stunning - something that will transport you away from the autopilot of daily life and into a world of creativity and beauty. Keep reading to find out more about Giorgio's journey and the fascinating results of his 'Daily' project.
“Every day we repeatedly use objects that we constantly have under our eyes. How many times do we open the refrigerator? How many times do we take the water bottle?
On a daily basis, we are always surrounded by the same things; we are so used to their presence that we no longer notice them, we no longer see them; even if our eyes rest on them, we do not notice them and it is as if we do not see them.”
IN CONVERSATION WITH GIORGIO GERARDI
THE PICTORIAL LIST: Giorgio please tell us about yourself.
GIORGIO GERARDI: I was born in Mestre in 1953, few kilometers away from Venice, and I lived there for many years, until I recently moved to Favaro Veneto with my whole family. When I was younger, I tried to enter the professional world of photography, which has always been one of my biggest passions, but the journey would have been too long and I wanted to be independent straight away and have a family. I have worked most of my life in the credit sector, and I had to limit the amount of time for cultivating my interests, given that my spare time was mostly dedicated to my wife and raising my kids. A couple of years ago I retired and I am now finally able to fully devote myself to what I did when I was 20/27 years old, taking back the old projects of mine.
TPL: How did you get involved in photography? What is it that is so special to you?
GG: When I was a child, I received a camera as a present, which to me at the beginning represented a way to close reality within a frame. Around the age of twenty I started my own research; I was struck by the avant-garde of the 19th and first half of the 20th century, and by the research of photographers such as Man Ray, László Moholy-Nagy, Ugo Mulas, Franco Fontana, Luigi Ghirri. Moreover, I was interested in the artistic currents of Minimalism and Conceptualism.
All of these experiences interested me mostly because they focused on the analysis of the photographic medium, its language and on the search for new forms of expression, new compared to the tradition. As typical in the spirit of the avant-garde, they were much closer to a discourse relative to the analysis of the visual instrument rather than to the staging of reality, to its representation, as the history of photography had instead accustomed us. It is not for nothing that Man Ray was part of Dadaism and Surrealism, and László Moholy-Nagy of the Bauhaus.
TPL: What is the story behind your project DAILY? What inspired it and when did it begin? What do you want the viewer to experience and take away with them?
GG: The project was created precisely to stage everyday objects; I photographed ordinary items, an unmade bed, the inside of a refrigerator, a dishwasher, trying to highlight certain details by extracting them from their context, to make them almost take on a life of their own, their own identity. I drew heavily from the Hyperrealist current, born after Pop Art in the second half of the past century, and in which detail assumes great importance. But I was also influenced by the concept of "ready made", where an object of common use is isolated from its context to be perceived as a work of art, in Duchamp's style.
I wanted and I want the viewer who looks at these images to be able to “see” the represented subject, to perceive it in a different way than how he experiences it every day. I hope I have succeeded, at least in part.
TPL: Can you explain your post-processing work to get to your final image. When do you know you have finished an image?
GG: In the DAILY project, the important thing for me was trying to obtain images that were as neutral and aseptic as possible, which would highlight the details of the photographed subjects. In working these series, I pushed the contrast to the maximum by playing on curves and colors.
I finish my work when I feel satisfied with what I have done, when the image has shapes and colors that satisfy me and in these series I was interested in highlighting details of everyday objects, as well as trying to treat them with a technique that came as close as possible to the style of Hyperrealism.
TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance?
GG: In regards to photography, I believe that in a previous answer I already gave a broad idea of the artists who interests me, and these are Man Ray, László Moholy-Nagy, Ugo Mulas, Franco Fontana, and Luigi Ghirri. But the beauty of art of course is not limited to what we see, but it also extends to what we can hear and listen to. I do love music and I would say that among my favorite musicians there are Philip Glass and Terry Riley. I may even add that their music influenced my artistic formation; repetition is a constant in their works, repetition alternating with continuous and slight diversities, which make repetition itself mutate, change, while remaining "repetition".
I wanted and I want the viewer who looks at these images to be able to “see” the represented subject, to perceive it in a different way than how he experiences it every day.
TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why?
GG: I would spend a day with the Italian photographer Franco Fontana, to talk and not to take pictures, so that he could tell me about his experience and how he lived the photographic medium and the images he managed to take. I've always liked the way he portrays the landscape, which is both classic and abstract and minimal at the same time. I think that his images, taken from the Seventies, marked an important step in the history of photography.
TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length?
GG: I don't use any particular equipment; I have a Canon Eos 550D with a focal length of 18-55 mm, with which I take 90% of the images, and I also use my Xiaomi Mi T9 mobile phone. The main part of my work is focused in post-production, and therefore in the use of digital graphics programs, especially Photoshop and Gimp.
TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years?
GG: My main goal is to make my work known to an ever-growing audience, and slowly I manage to get published more and more often in magazines and on web pages. I hope to be able to continue on this path for other five years from now and even more. I also hope to be able to reach the world of galleries and interior designing, so that I could hang some of my images in private and public spaces.