Paolo Gioli

“I began working on photofinish in 1971. What I did was emerge from the line, from the cranny, which is broken here, cracked, so a small piece is explored on one side and another one is explored later on the opposite side. I emptied out the camera and turned it into a nest. Then I insert the film and begin exploring. How? I have the model, or the subject, sway from left to right, sometimes in an extremely sudden way, even paroxysmal, pseudo-hysterical and unexpected. So that, when I move the camera to one side, the model has already returned to the other with spasmodic and uncontrollable movements. So it takes an understanding: I explore, move around, stop as I wait to find something; so when I make my return, the model has already moved his/her head, so all I’ve got left is an ear, which is turned upside-down and attached on the other side, or a piece is dispersed in emptiness… So you have to be ready to adapt, being out of sync or looking for it. In other words, there is collusion between the subject and the moving camera.” (Paolo Gioli)