Conceptuality and Reality in Contemporary Photography

Conceptuality and Reality in Contemporary Photography

We now take it for granted that photography occupies a prestigious position in the visual language of contemporary art. And it is superfluous to affirm the concept that the photographic image does not necessarily have to be faithful to reality, but while maintaining a conceptual essence, it must be interpreted. Contemporary photography, by managing to identify its conceptual essence, perfectly highlights its contemporary identity. However, it is clear that conceptual photography can never be completely dematerialized because the link with reality, even if interpreted in an embryonic form, remains. Given that the possibilities offered by digital technology allow for different entities of manipulation, excessive alteration makes conceptual understanding fragile because excess shatters or cancels any link with reality. Consequently, the more limited the technical manipulation of the camera, the stronger the connection between concept and reality. Consequently, the more limited the technical manipulation of the camera, the stronger the connection between concept and reality. Then you have to pay the utmost attention to clearly define the boundary between photography and digital art. The conceptual aspect contributes to constantly fuel the expressive research of the artist-photographer who, by abandoning pre-established schemes through continuous experimentation, concretizes a growing photographic expressionism that has its beginning from the point of view of the artist-photographer. The result is enclosed in a contemporary realization free from academic schemes, without improvisations and anchored to a design path with the aim of arousing interest and emotions through different themes: historical-social-cultural-environmental-youth-political-immigration-energy-populist-Europeanist-religious.                      Petrucci Pasquale