An interview with Italian Photographer Giuseppe Mileti

Time generates memory. Time is the space between us. Memories need space to prosper. Giuseppe Mileti’s images of landscape and people are reminiscent of moments and memories gone by into oblivion. As a ‘critical reflection’, it is the photography to examine the nature of interconnectedness of man and his surroundings.

A self-taught photographer, Giuseppe learnt to discover and observe the sensibilities requisite to create a body of work which is precise as to be difficult to analyse or describe. It is not meant to be relished, but to be absorbed and consumed, as the history does with the viewer. All rhetorics aside, his work is simply raw, nostalgic, evocative, and tranquil.

Giuseppe Mileti_01It is our pleasure to feature Giuseppe Mileti’s assorted work with his words on himself, his work, and other stuff:

Please tell us about yourself:

I love music, reading books and watching old movies. I like all kinds of documentaries. Enjoy long walks and cycling. Walk for hours without knowing where to go, leaving my instinct carry me on. Travel and see new places also just a few steps from home. I really like the manual skills.

Giuseppe Mileti_02How did you get into photography and how do you see your evolution as a photographer?

I think that photography is an extension of music. I dealt with electronic music and installations for several years. When, for various reasons I had to “break” this artistic activity, switching to this new and exciting adventure was very short and simple. I am mainly an experimenter, so as I had previously done with music I started shooting with some digital cameras I had available. At that time I used to spent lots of time in post-processing the images over the computer. Then over the years, I approached more to analog photography that I still run. It is a path in reverse to discover the essential with a futuristic eye.

Giuseppe Mileti_03What is your statement as a photographer?

Art, music, photography, for me (I think for all those who “practice” these activities) are a way of communication and expression but especially a primary need. I can not live without it.

What is the ‘critical reframing of landscape’ that you attempt to portray in your work?

Everything I see or I observe, clichés, non-places, micro changes, macros revolutions, people so different but at the same time always the same, the bizarre, what our vision of today sets as different. The trivial and obvious that sometimes mask deeper meanings.  I draw imaginary castles that take shape in my everyday life. I tale stories.

Giuseppe Mileti_04Descriptions of your photo projects sound like ‘prose poems’. Do you feel that aesthetics of fine art photography demand proper elaboration or paraphrasing for a better understanding?

We have developed this tendency to accompany the images to text and vice versa. I don’t like the caption in everything. Some photos may evoke to the mind one thing rather than another.

As the Pareidolia* back us to the common of the confused images I just try to merge my various sensations.

Giuseppe Mileti_05What are your methods or critical approaches of taking pictures? What are the special characteristics that you look for in a scene or space?

I answer with a quote of William Eggleston:

“I only ever take one picture of one thing. Literally. Never two. So then that picture is taken and then the next one is waiting somewhere else.”

Tell us about the equipment (camera and lenses) you mostly use, your workflow and your views on editing and digital manipulation:

I use the 35mm and the medium format. My first projects were developed with digital camera. A methodology that I have completely left, at least for the moment.

Giuseppe Mileti_06The transition to analog gave to my shooting modes much more clarity. After scanning of the film that I chose (for daylight or expired, the tungsten or neon are almost impossible to find) to do most of the work rather than the digital transfiguration. I do the process C41 by myself . It in part provides to give to my images a prerogative/characteristic that is highly personal.

Do you have a favorite photo or a project having a great story behind?

I dont have a project or a particular photo that I prefer rather than another one. All these, in their own way have their own little story to tell.

Giuseppe Mileti_07Tell us about your achievements, awards, clients, publications, etc.

I have a number of publications around the network. I want to experiment with photography still so much and my primary achievement is to be able to do what I like.

What are your future plans/projects, aspirations, inspirations etc.?

I am a careful observer. I would like to travel and see a lot.

Giuseppe Mileti_08Please share your favorite stuff: photographers, quotes, films, books, music etc.

My favorites photographers are William Eggleston, Stephen Shore, Walker Evans and Robert Frank among the others. I really like Technicolor and black and white films, music and books.

A quote (by William Eggleston) that I really like is:

“Whether a photo or music, or a drawing or anything else I might do — it’s ultimately all an abstraction of my peculiar experience.”

Giuseppe Mileti_09 Giuseppe Mileti_10 Giuseppe Mileti_11 Giuseppe Mileti_13 Giuseppe Mileti_14 Giuseppe Mileti_15 Giuseppe Mileti_16 Giuseppe Mileti_17 Giuseppe Mileti_18 Giuseppe Mileti_19 Giuseppe Mileti_20All photos © Giuseppe Mileti : Website | Facebook | Twitter

* Pareidolia (pærɨˈdoʊliə) is a psychological phenomenon involving a stimulus (an image or a sound) wherein the mind perceives a familiar pattern where none actually exists.

About Nishant Mishra

Nishant studied art history and literature at the university during 1990s. He works as a translator in New Delhi, India and likes to read about arts, photography, films, life-lessons and Zen.

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