MARTINA GIAMMARIA
Italian photographer, and self proclaimed “chaser and victim of dazzles”, Martina Giammaria is never satisfied. Despite her affecting portfolio of strong and colourful shots, combining fashion and still life to intriguing effect, Giammaria wants more. “I’m never satisfied, I always want more, and all of my achievements are worthless to me,” says Giammaria. “This attitude can be both a stimulus, and a limit. I want to make an example. I worked hard on my style, trying to be coherent and recognizable, merciless in deleting what doesn’t fit in with the image I wanted to show of myself. This is because I think that being coherent, simple and clear always pays. But now that I’ve almost achieved my purpose, I feel bored and a prisoner of that style. I need to change again, and soon.”
It’s hard to believe such discontentedness from such a talent, but it’s a sentiment shared by many, for the pursuit of perfection is the driving force behind so much artistic gold. In fact, just recently I read a resounding quote from London author Zadie Smith, which captures so succinctly the truth behind the life of an artist: “Tell the truth through whichever veil comes to hand - but tell it. Resign yourself to the lifelong sadness that comes from never being satisfied.” At least as viewers, we can revel in the satisfaction of other artists works which may forever elude the creator.
I interrupt Giammaria one evening in her home in Milan, “I’m preparing to go to NYC. I’m leaving in a few days so I’m closing some works, organising clothes and luggage… you interrupted chaos!” she explains. Having created work for the likes of Wired, Vice, and Dossier Journal, Giammaria has just finished collecting materials for an exhibition, and is in the process of creating her first long term project, outside of fashion, which will be ready during the European summer. I interrupt Giammaria one evening in her home in Milan.
“I’m preparing to go to NYC. I’m leaving in a few days so I’m closing some works, organising clothes and luggage… you interrupted chaos!” she explains. Having created work for the likes of Wired, Vice, and Dossier Journal, Giammaria has just finished collecting materials for an exhibition, and is in the process of creating her first long term project, outside of fashion, which will be ready during the European summer. Giammaria’s foray into professional photography is surprisingly recent. She explains, “I studied and worked as an archeologist and archivist. Although I was always taking photos, I decided to become a “real” photographer only three years ago.” Giammaria sites meeting her boyfriend as the catalyst which led to such a shift in career, “He’s a photographer too. He changed my life, waking me up and teaching me to see things that were previously invisible to me.”
Giammaria’s work is clean and focused, with a mix of fashion, still life, or both. “Usually I like fashion shoots with still lifes in them. I love and hate them the same. I’m a bit anxious, and the day before a shoot with models is always hard - I get nervous as a student before an exam. Photographing objects is easier and more relaxing. On the other side working with objects can be endless and exhausting. The objects are totally in your hands, they have no autonomy and they depend entirely on your ideas (or lack of).”
Of her process, Giammaria explains “There’s a thought, an idea or images that I can clearly see in my mind. But it is just a part of what I want to realise, so I usually have to search, look around me, and I often research in strange places. Finding the inspiration and gathering ideas is the most enjoyable part for me. Building something over the influences that represents me perfectly. Then I have to know exactly how the photos will be. I build the images, making horrible sketches, everything to be ready for the “exam”. Being anxious forces me to plan ahead. It’s important to propose photos that can be read in several different ways, right out of the frame there’s something happening that you can’t fully understand.”
The self taught photographer sites her parents as a major source of influence of creativity and curiosity. “I think that it wasn’t the (Italian) environment that has influenced me, but some specific phases of my life. When I was very young, I saw my parents as “intellectuals” and I was very proud of them, I felt better than the other kids. I liked to be surrounded by people interested in knowledge and I still love to be able to learn new things. This is why I’ve never accepted to live a placid life and always try to change…” explains Giammaria. “I started taking photos with my parents mechanical reflex, and when I was nine I got my first camera, square format, and I was cutting out everyone faces.”
Now 37, Giammaria reflects on the evolution of her style. “It’s been five years since I’ve started taking photographs more frequently and seriously. When I started, I was looking for some interpretation, an answer. Now I simply observe and reproduce, and I want no sentimentalism in my photos.” Of her ultimate goal, Giammaria simply states with a wry twist, “to take photos for love and not for work.”
Images courtesy of Martina Giammaria
Published in PITCH Zine Issue# 27, May 2014