My name is Gioele, I'm a 22 years old photography lover and I'm actually studying psychology in Lausanne (Switzerland).
Passionate since my childhood about photography, I grew up admiring the work of Saul Leiter, Garry Winogrand, Harry Gruayert, James Nachtwey, Sebastiao Salgado, Sergio Larrain and Henri-Cartier Bresson.
In 2012 I took part at a Workshop with Klavdij Sluban at the "Rencontres d'Arles" (France), where I finally found my approach to photography: a 35mm fix lens, the old grandpa's Olympus OM-2 and the need of loosing myself into the streets, where the difficulty of getting a good shot with a good light and a good frame is amplified by the rarity of the opportunities that the spontaneous and unpredictables dynamics you can find out there.
Before starting university, I worked for 8 moths in a "foyer", a small house on the mountains, where I lived and worked with a few social "educators" and 10 childs who where taken away from their parents, mostly because of a psychological disorder and very often a strong drug addiction. At first it has been very difficult for me to stand the intensity of that small environnement, charged with a lot of tension and sometimes even violence. But then I found a way of facing it using photography. The object of my camera itself was a sort of "third actor" that mediate the interaction between the childs and myself, between the expressions of strong emotions and the individuals feeling those emotions. Photography became a sort of a game that I had the opportunity to develop together with those kids. It quickly became my favorite way of interaction with the childs of the foyer because it added an objet (the picture itself) to which everyone could relate immediately; in this scenario, each picture constitue a special kind of co-construction, in the sense of the encounter between my own perspective and way of feeling (which determined the frame and the content of the picture) and the perspective and way of feeling of the kids, who sometimes asked me to take a picture of a particular situation, and more often were simply asking for the possibility of looking at themselves right after I got a shot of them.
This experience was unfortunately too short, and I wasn't able to develop as much as I would have wanted this approach about photography, but it surely gave me a lot of questions about the use of this media not only as a way of representing, but also as a language: a major tool of interaction.
For this reason I started to read about a possible therapeutic use of photography, which is called "photo langage" and I'm always looking for new ways of thinking about photography that can help me to figure out about what I'm expecting from this particular form of art.
The other "face" of my photography is without any doubt the so called "street photography". As I previously said, I really enjoy loosing myself in the streets of an unknown location, looking for those particular moments that makes me wanting to capture their essence.
At the present moment I'm focused on my studies, that are giving me some new ideas and theories about my personal approach to photography and its possibilities and meanings. I'm trying to figure out how to conciliate the two "sides" of my own work, focusing on their common base: the encounter.