Giorgia Bisanti born in Naples in 1994. She graduated from the Academy of Fine Arts of Naples in Scenography in 2017 and specialized in Photography as a language of Art in 2020. Her artistic research ranges between the themes of personal and collective memory, perception, the relationship between man and landscape. In her vision, photography is a language that is never realistic and objective, but a tool to reach the truth that lies within ourselves. In 2017 she is part of the group exhibition Moments of Color at the Blank Wall Gallery in Athens. In 2018 her first solo exhibition with the project Impossible Places at Area 35 mm. The following year is part of the collective exhibition Vesuvius. The new Dawn, exhibited at the MAV in Ercolano, coordinated by photography teacher Fabio Donato. Again in 2019: she is one of the artists selected for the contemporary art festival Survival at the Contemporary Art Museum of Casoria directed by Antonio Manfredi, she is among the 12 winners of the NANA Onlus competition. In 2020 she is present in various collective exhibitions in Italy such as: #spazioFOTOcopia, XIV edition, at Magazzini Fotografici (Naples), the exhibition #interminati_spazi organized by the Domori company as part of its project “Domori e la fotografia, Restituire il tempo alla fotografia. Spaces and places for a new poetics of the image” exhibited in Turin and curated by the artist Maurizio Galimberti. Finally she will participate in the exhibition curated by Antonio Manfredi, Pandemic Art at the CAM in Casoria.

What are the rules of your photographic work?

I don’t think I can define the rules of my photographic work. Putting rules from a creative point of view actually blocks me, I find it also counterproductive. The moment I’m approaching a new work, something creative is just when I can leave behind the rules and rely on the intuition that I’m going to build something that could be valid. I do photographic research, every time I start a work I am ready to question everything I have seen or done before. If I stopped to take photographs that simply respect the rules, I would probably carry out a sterile practice. The rules can be references, I’m not saying that you don’t need to apply them but if you feel the need, it’s okay to go further and test yourself, it’s a bit like a challenge; sometimes it’s the rules that beat you, other times you are the one who won over them.

The only real rule that I believe exists is to practice, to study, to go all the way, to give validity to what you are doing. In this case I can say that my fundamental rule is to give as much value as I can to what I do, not be content with a “beautiful image”.

Is there a particular combination of techniques and tools that you think makes a difference?

I don’t think there are any techniques or tools that can make the difference between me and another person who practices photography. What makes the difference is mastering a certain technique or a certain instrument so that we can express what we want to say without being overwhelmed by it. The skill I believe lies in making this technique or instrument “transparent”. Let me explain better: I believe that we really succeed in the intent of our work when those who see it are not sent back to the technique or instrument used, but to the message we want to convey, if there is one. 

Tell us about an experience that has definitely changed the way you work and made you grow.

I feel relatively young to answer such a question, I know I have to mature many other experiences but I can say that my way of looking at photography and consequently making it has changed the day I discovered an online Moma course called “Seeing Trough Photographs”. It was 2017, that experience opened up a new world for me, I discovered some types of languages that I feel closer to, for example the conceptual one, and I like to work with. 

Also visiting the “Foam” photography museum in Amsterdam when Hiroshi Sugimoto’s works were on display was an incredible experience that infused me with a new love for this medium.

Has there ever been a difficult situation? How did you react? tell us.

I often live difficult situations when it comes to my job. Sometimes you work on ideas that seem to lead to nothing, other times you finish projects but you don’t know if you really said everything you had in mind, but in the end nothing is really finished as long as you have time. Often I have had periods of “blockage”, of insecurity; how did I react? Trying to feel and follow what was transmitting passion to me in that moment, not to repress the creative stimulus for the fear of not making it, but to give me the chance to do things little by little, committing myself every day, trying to listen more to myself. You have to climb the steps one at a time to get to the top of the skyscraper and enjoy the view.

How do you relate to the environment and the subjects you see?

The subjects of my photographs are often objects or images; one of the reasons why I am fascinated by photography is its ability to preserve memories, as well as objects. Memory, in fact, is one of the main themes on which I work. When I act in this way many times I am emotionally involved with what I am dealing with, in this case it is not easy to find a direction, I try to find something that links the various images, the various objects, so as to involve in the same way who will look at my work.

I also ask you to share a bonus trick between your secret techniques.

What helps me many times to carry on a work is the direct and material contact with the images, to have the possibility to look at them from different angles, to be able to intervene on them, to have almost like a “relationship” with them, to spend time together. It can happen that the mere digital vision of an image, through a screen, detaches us too much from it and does not give us the possibility to see the many opportunities it can give us. I don’t know if this can be defined as a secret technique, in fact it certainly isn’t, but it is certainly worth trying.

Tell us about your equipment, with what kind of shooting machines? 

I started shooting with a mid-range DSLR at the age of 16, but then when I decided to get “serious” with photography I bought a mirrorless camera from Fujifilm, for me it is very important to have my equipment at hand, always carry the camera with me and not feel it as a burden, in the true sense of the word. I’m not one of those people who goes out on the street and takes pictures of everything, but at the same time I want to have the peace of mind to be able to take a picture if there is something that interests me. The camera, whether it’s a cell phone camera or not, remains a medium that I use to take notes, to fix tracks, to capture clues that will speak to me when I need them.

Generally when I work on a specific project I end up shooting in my small studio and I don’t necessarily always use the same equipment, I like to experiment with the rendering of images through different types of cameras, whether digital, analog, snapshots, use off camera techniques, or even appropriate images that are not mine. 

Are there any books you would recommend?

Absolutely, I believe that any book, even one that doesn’t talk about photography, I can help in the development of my own research. However, if I were to recommend books that have been fundamental for me, I would say they are those by or about Luigi Ghirri (e.g. Kodachrome, Breakfast on the Grass, Photography Lessons), Germano Celant’s monograph on Vik Muniz, Charlotte Cotton’s book “Photography as Contemporary Art”.

What stimulates your creativity, what inspires you?

Everything can inspire me; it is the life I live every day that gives me creative stimuli: the world around me, people, art, music, science, personal experience. Sometimes it can happen that sparks are triggered, something that pushes me to want to give back an emotion or an experience through my art.

Giorgia Bisanti