FP9: Reflective presentation

Since the Level 1 Identity And Place unit, I became interested in drift theory and later discovered psychogeography. As always, when a topic interests you and stimulates you beyond academic objectives, I did in-depth analysis and researched these topics. 

During that period, my photography also underwent a turning point: I focused more and more on street photography and rationalized my infatuation by reading books, frequenting exhibitions and deepening my knowledge of authors from the past and present.

I temporarily interrupted the research on these topics during level 2 because the units' content was oriented to other themes. 

At level 3, I had the opportunity to choose self-directed projects, so I resumed deepening my knowledge of psychogeography topics and, simultaneously, of my development as a photographer. 

Now, I am almost at the end of unit 3.2, and my embryonic preferences from the past have become my true artist statement: these are the themes that I want to explore further, and this is the type of photography I want to practice. 

During these years of studies and research, I became aware that psychogeography, even though it was officially born in the fifties, gradually hosted older themes such as walking, the flaneur, and the theory of drift, creating a strong, dare I say, "triangular" relationship between them. 

A powerful catalyst, such as critical contemplation of the questionable development of the urban environment, consolidated this bond and enriched the content from a socio-political and artistic point of view.

Readings and research on practitioners (like Robert Doisneau , Saul Leiter and Alexander Gronsky) consolidated my awareness that this triangle nourished, inspired and gave rise to some creative currents, including street photography in all its forms and declinations.

I look back, and I believe that my choices so far, from the point of view of research, practice, and external projects, have been consistent with my personal development.

At the start of this unit, I created and developed a mind map, which was and is strategically useful for structuring ideas and documentation, planning and orchestrating activities, and selecting themes, projects, and creative works. This map will also be useful for the next unit.

Then, I started to narrow things down.

First of all, I thought that the act of walking is not simply mechanistic but central to psychogeographic performances from multiple points of view: cultural, socio-political, and artistic. 

From these conclusions, I chose to read and delve into the essays "Walking" by H. D. Thoreau and "Walking as a Cultural Practice" by G. P. Chiari.  I then dedicated one of the external projects to the interview with G. P. Chiari, who is also the founder of the "Museo del Camminare" ("Museum of Walking") of Venice.

Thus, I confirmed how much the creative engine I develop within myself must be fueled by moving on foot through the environment. Even if, in the "Practice And Research" unit, I selected some authors who used other means (car, bicycle, bus), in the end, walking through the environment is and remains the most nourishing, stimulating and liberating act for a photography that is not conditioned by pre-established routes and times.

Then, during this period, I did not interrupt my creative activity, which increasingly connoted my emerging practice with my style. From here, two photographic drift projects were born by wandering on foot in a Greek city (Thessaloniki) and two French cities (Thionville and Metz). 

During these experiences, while I walked through the streets and alleys, I always wondered where the photographic drift ended, where street photography began and if I behaved, in some situations, like a flaneur. However, I realized that it is unproductive for my creative act to forcibly classify it, even if practical experiences have pushed me to delve deeper into these themes with academic research.

Therefore, I began to conceive the main theme of the critical review: as I wrote earlier, I am aware that this work not only has a mere academic purpose but also the function of rationalizing, or rather, bringing order and coherence between all the concepts and themes that I have addressed in this unit and during the practice sessions. 

It also supports my emerging practice. For this reason, as the critical review title says, I conducted a "Critical Analysis of The Relationships of the Individual with the Urban Environment in Photography." 

I am confident I confirmed and supported my academic and creative path by referencing authors and practitioners and critically reflecting on them.

Gradually, I grew up to be and behave like a street photographer. 

In this journey of "self-awareness", I had the opportunity to interact with a street photographer, Marc De Tollenaere. I, therefore, chose to complete one of the external projects with him, which consisted of an interview and a joint photographic session. 

It was the first time that I introduced myself as a student and emerging street photographer to an Author who, in his visual works, is also a street photographer. 

In this experience, I understood an external project's true content and meaning: everything arises from comparison and dialogue with others. 

From this point of view, beyond the techniques that rely on research, waiting, observation, and choice of stage, I understood how important it is with which intention and mental approach one goes in search of the "genius". loci" and how much each of us experiences and represents it according to our basic, dare I say fresh, perceptions.

This external project and the comparison with my fellow students helped me complete this unit and conceive my proposal for the main project of the final unit.