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Ermanno Ivone

by AdminAg

Vulgarity is only faking (or pretending) something you are not

Written by Artemide De Blanc

Interview with Ermanno Ivone
Writing with the lexicon of photography: how important is technique?
As much as knowing how to read matters for those who want to write.
Like every recognized and recognizable art, it’s the union of aesthetics and technique that turns a representation into something representative.
The instrumental technique is due for anyone who wants to transform that thought into a shareable or meaningful act.
It’s accessible to everyone. You just need to acknowledge the commitment towards a desire.

What’s the starting point?
In photography the vision that anticipates the compositional glance is fundamental. It is worth a study, an in-depth analysis, and sometimes technique is required.

In my case the “technique” in the vision is provided by methodology: a systemic approach to thoughts that I would like to report in photographic quadrangles.
In order to make it, I dedicate time to writing and composing concepts in moments when I can disconnect from everything else and manage to scream with a smile only dystopian interpretations or rejection of absolutes established by others.

What did your experience as a creative director give you?
It taught me how to section. The intention to see things in a different way, just for the sake of it, has always been part of me since I was a child. On the contrary my professional experience allowed me to mark invisible limits and to think inside them; but first of all, it allowed me to dig tunnels which enable to overcome those barriers.

What’s vulgarity? What are the variables that knock it out?
What makes some people’s heads turn the other way can on the contrary catch others’ attention.
As it can’t be determined in an absolute way, there is no choice but to side with ‘some’ or ‘others’.
Because of personal indeterminacy, I prefer to walk suspended on the edge and leave it up to the observer to decide whether I fall this or that way.

I am almost always in the balance and I just make sure to say things in bright colours.
In this way I can provide what I do a sense of responsibility in favour of pop, which is etymologically popular/of common people and so literally “vulgar” .
Also champagne was born as mass wine, so extremely pop; and yet, of all his inventions and creations, it has always been the human being to determine the classification simply by isolating it from its universality or availability.

In this way, the word vulgar takes on another meaning, actually…
If I had to choose how much what I do should be available (understandable), then I’d prefer to be vulgar and definable, instead of elitist and semi-incomprehensible.
For me, there is still a borderline beyond which one treads on the ground of vulgarity (understood as a harassing excess out of taste) and it is by trying to say something that you don’t actually mean.

Vulgarity is only faking and pretending something that is not and you are not.

Nude as an expressive code of personality, eroticism as a narrative ‘weapon’: what is the starting point?
I would love to start every thought from the naturalist synthesis given by a naked body: there is nothing more understandable than something that more or less morphologically resembles us when we are in the shower.
In fact, given the overexposure and overuse of the nude as the only aesthetic motif, I practice a constant distortion of this custom – now customary – by inserting punctual disturbing elements.
Sometimes indecipherable distractions to the mise en place of a naked body.

In photography I always start by defining the ‘walls’ within which I can move. But the the same time, I look for the stairway that will allow me to walk around suspended on the edge.

As for eroticism, I consider it a personal hobby that I prefer to practice without having a heavy camera in my hand. In photography, however, I strive to distort it, translating it into irony. As if it was a recipe (eroticism) that everyone chooses to customize with different ingredients.

The people you photograph are always beautiful, or rather, without obvious imperfections: then is fashion’s attempt to include non-perfect elements just marketing?
The intention is always so beautiful.
Imperfection is what makes that beautiful side superior.
Commercial customs have made it functional and ‘revolutionary’ to use people outside the common canons of ‘perfection. “
But, as always, the commercial reaction (by extension, marketing) always comes one or more steps after what the world has already experienced and known.
The presumption of feeling oneself promoter of the evolution of things is in itself a declaration, in my opinion, of the fact that one has felt oneself as an outsider for too long or at least to have taken time – often too long – to understand the depth of it.

So, do you mean that those who defend what is “different” didn’t see it before?
Everything different is now the clearest representation of the true (or at least the true towards which we are heading). The inclusion of every potential difference is then both a civic duty (if we really want to feel part of this time towards tomorrow) and the flower we choose to put in the cannons to avoid social/intergenerational/customary conflicts. In the pocket of all good intentions there is the possibility of transforming reality and directing it towards what we would like. Photoshop is one of those cannons in which you can decide to put flowers or ballistic bullets.
In this matter I feel somewhat at fault, given my dedication to sterilising all the contours of my images. However, I prefer everything to be ‘in order’ around the content to be communicated.
It is then up to the observer to find flaws and imperfections in a visual mini-story that is only meant to promote interpretation.

If you were a film, which one would you like to be compared to?
Definitely a short film. More probably Even more probably the first and second half of two.
I would probably be the first half of Vincent (Tim Burton’s first short film, because of the duality of what I lived and imagined) and the second half of Hotel Chevalier (because I feel kinship with the kiss given immediately after ordering two Bloody Marys).

And I am even more the unexpected answer to any question that has as its goal only seeing love win or love-making.

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