This manifesto presents the conceptual and methodological framework that underpins my photographic practice.
The Photographic Interfascze
Matter, Sign, and Transsubjectivity
The Interfase: Matter in Contact (Fase)
Photography begins before seeing; it begins with contact. Just as, in chemistry, a phase refers to a state of matter defined by molecular interaction, the photographic image originates in a physical encounter: light striking a photosensitive surface.
Every imaging device is, in essence, a prosthesis (Kapp): a technological extension that enables the human body to engage with its environment and interpret its signals. I do not photograph in order to see from a distance, but to establish a tactile relationship with time.
At this stage, the image is not a representation but a trace. It is the material evidence that we were there. My work seeks to recover this neglected dimension of Fase: texture, grain, and the physical medium that reminds us that reality, before it is understood, must first be touched.
The Interface: The Visible Surface (Face)
Yet the image moves beyond contact and becomes a surface. Here we enter the realm of Face: the visual interface where molecular contact gives way to perceptual codes.
Photography becomes a cultural artefact—a vehicle of signs that mediates between perception and thought. Framing is an intentional act of selection, isolating the affordances of the built environment and determining which possibilities become visible and which remain concealed.
At this level, composition becomes syntax. I construct the image as a visual field in which abstraction is not emptiness but a coded visual language awaiting interpretation. This is the realm of aesthetics—not as decoration, but as the rigorous organisation of visual information capable of shaping perception and, ultimately, influencing behaviour.
The Interfaze: The Transsubjective Dimension (Faze)
Beyond the tactile and the visual, my work aspires to a third dimension: transsubjectivity. An image is never complete at the level of its surface. There is always a tacit third subject—the system, culture, history—quietly shaping what becomes visible and how it is understood.
Interfaze fully emerges when the image exceeds its immediate viewer. Photography ceases to be an object and becomes a system of relationships in which my subjectivity, the viewer's subjectivity, and the symbolic network surrounding us continuously interact.
This is where rewriting takes place. The viewer no longer simply observes the image but inhabits it, entering an intersubjective environment where symbolic needs—belonging, knowledge, recognition—find resonance within the structure of the work.
Sequence: The Cognitive Network
If the individual image is a sign, the photographic series is a cognitive system. I understand sequencing as a process of organising thought rather than simply arranging images. I do not present isolated fragments but a symbolic network in which every photograph derives its meaning from its relationship with the others.
Interfascze manifests itself not only within each image but also between them. Relationships, repetitions, variations, and silences form a structure capable of revealing what remains invisible when photographs are viewed independently.
It is within the series that the viewer ceases to consume images and begins to read systems. Sequence shifts attention away from the photographed object towards the relationships that organise perception. In doing so, photography moves beyond recording the world and becomes a device capable of producing visual thought.
Epilogue — Projecting What Defines Us
"Individuals represent themselves through objects" (Gravagnuolo). My photographs are those objects. They are the artefacts through which I attempt to resolve the tension between inner necessity and the factual reality of the world.
The Photographic Interfascze is not merely a theory of photography. It is a way of understanding how images mediate the relationship between matter, perception, and cultural systems; how they organise our experience of the environment and, through it, participate in shaping identity.
The Photographic Interfascze is the place where these four dimensions converge:
Fase: matter and touch.
Face: vision and code.
Faze: system and transsubjectivity.
Sequence: the structure that organises these relationships and transforms them into visual thought.