Mara Giammattei: Capturing identities through flesh and spirit
Mara Giammattei interviewed by Edoardo Schinco
Nature can be such a great source of inspiration for photography. The natural environment is more than just the background of our shots, especially when in connection with human bodies. The photographer Mara Giammattei leads us through mountains and natural landscapes to grasp what we ultimately are – “We are Flesh”.
Who are you? Would you introduce yourself to our readers?
My name is Mara Giammattei, and I’m a photographer. It has been several years since I started to work with photography. Particularly, I’m interested in theater, events, and portraiture. At the same time, I also carry out personal projects born from the need to keep on working. Indeed, there is always the risk of becoming repetitive, so it is crucial to go beyond my current works and call into question myself as a photographer. In so doing, I can dig deep within myself in order to take out what I feel and speak of things that are precious to me, such as mountains or nature. Those are the main subjects my works always revolve around.
How do you understand photography? Do you think of it as a form of art?
There is no room for doubt that photography is a form of art. However, it is a very peculiar one since it contains both the documentary dimension and the artistic creation. Hence, photography always lies at the intersection between description and interpretation. In my opinion, photography is a way to interact with the outside, to read it and grasp it through the image. Photography is also the possibility to meet the Other and, in so doing, it helps me to deal with the hardest sides of my personality, yesterday as today. Photography allows me to face my fears and insecurities, especially when I am too shy and lonely.
Why did you decide to take pictures? Did you feel an artistic urge?
In my family, everyone is interested in photography. I think it was just a matter of time before I developed my own need to get a personal camera. There has always been an artistic urge, before drawing, after writing. In the end, photography showed up. It is a very complicated tool to employ, hence I feel like I still need to practice with it. Nonetheless, it allows me to express and investigate aspects of myself that have always been there, even if unconsciously.
What are the artistic sources or inspirations of your activity, if any?
I have always read quite a lot, and books are surely a great source of inspiration and research for me. Besides it, I always felt the need to constantly look for pictures, shot both by well-known past photographers and contemporary ones. I always look for confrontations allowing me to improve myself and grow up. It does not matter if it comes from other photographers or from the dearest people whose opinions I care of. Generally speaking, I would say that a great source of inspiration comes from nature and mountains. Indeed, those are the places I always refer to.
Would you describe the main concept(s) of your artistic project “Siamo carne” [“We are Flesh”]?
“Siamo carne” is a project referring to the body, understood both as a material and physical form and as a fundamental expression of every individual. I think of the body as a story-teller and I look for common traits between different people. What distinguishes this body from another one? But, at the same time, what experiences do people share? “Siamo carne” is a warning to remind all people that it is not possible to transcend the flesh we live in.
When did “Siamo carne” begin? Was there something specific that triggered you?
“Siamo carne” started about two years ago. I felt the need to take a picture of myself in nature, almost as if it was an attempt to disappear there, where I feel most at home. Then, I started thinking of my body trying to go beyond the mere possession of a body. Instead, I tried to see the body in its own materiality, in its being part of the environment. Along with this, a new urge to take pictures of the others arose. It has always been such a complicated thing to do. After a year I recovered this project and I had the will to widen its scope and give it a final form. I started to contact people interested in being photographed. Then, I collected pictures and shaped them in their current form. I wanted to focus on the body as a forgotten element of human existence. I also wanted that the person in the picture was focused on oneself. In the meantime, I did not want to give any instructions, but rather let people freely play with the given subject.
How do you choose the subjects for your pictures? Do you look for some traits in particular?
I had in mind some people I could ask to be part of my project. Anyway, almost everyone just offers oneself when they came to know I was looking for subjects to photograph. It was cool to realize that many people wanted to put themselves to the test and try, even if some of them did not even know me personally.
Did “Siamo carne” change your view on photography over time? If so, to what extent?
It has been such a hard challenge, for sure. It requires so much energy and attention. It is something I wrestle with and it really tests my skills for two reasons. On the one hand, I never did such complicated work involving both reading books and shooting pictures of many different people. On the other hand, it simply forces me to manage an enormous quantity of pictures I shot. I had to study and read a lot to reach the point I am at. I confronted with many people to test my opinions in this regard. But, at the same time, I feel like my work still needs to improve and I need to shoot more pictures.
“Siamo carne” is something special, and it forces me to interact with others. It is different from the other works where the focus is nature and where I necessarily felt more comfortable since I have developed a way of shooting that ends up talking about the environment and nature. For these reasons, “Siamo carne” entails outcomes that are different and, to some extent, less controllable. Also, “Siamo carne” made me discover the therapeutic power of photography. It happened both when I took pictures of myself and when I received a “thank you” from people I had worked with. Those people succeeded in discovering new aspects of themselves or in facing previous aspects of themselves they were scared of.