Cristina Coral

1. Aesthetics – The study of the mind and emotions in relation to the sense of beauty. How has aesthetic evolved over the years and how has this influenced fashion photography? How do you approach aesthetics in your works?

Aesthetics’ meaning has been “grinded” and the sense of beauty has been literally rephrased through new parameters, recently. Fashion and aesthetics have an intimate and historical relationship and fashion photography hass always a strong impact on public sensitivity. Today, image and communication have been revolutionized. I believe that digital platforms are more trendy now, but more than anything inside the fashion industry. My work and my search for aestethics towards beauty are a consequence of a very detailed analysis.

2. Identity – “We contain multitudes” wrote Walt Whitman, referring to the fact that we see ourselves in different ways depending on different contexts. Nowadays, gender and sexuality have been explored in many ways – art, cinema and of course fashion – and fashion photography has been perceived as a means to translate and picture actual reality. How do you reflect identity in your works? How has the perception of our own bodies changed in recent years? How has it been influenced by media and by fashion itself?

Identity is such a complex subject. It is an unexplorable reality. My photography catches moments which are out of time. It is more focused on the human mystery. The human body is the main subject of photography (not just for Robert Mapplethorpe). Self-perception has changed lately and media represent one of the most important markers in order to comprehend and analyze social changes that are fundamental to build social reality. Fashion and photography influence collective imaginary, visive culture and artistic research.

3. Beauty in Fashion – “The best part of beauty is that which no picture can express” said Francis Bacon. Fashion photography once depicted a perfect kind of beauty, almost false in its perfection. Today, fashion photography focuses on imperfection and peculiar traits. Which is your relationship with beauty? How has the language of photography mutated in the past years? 

Beauty represents the best part of us, putting together imagination and intelligence. Sometimes, it reveals an instant detail. Sometimes it is hidden behind imperfections that are there to be found. I like to think that beauty is an absolute value.

4. Sociology – The study of human behaviour. How is photography capable of picturing social changes? Is fashion photography a way to picture cultural changes within society? How have social and cultural changes influenced your works?

Sociology and photography were born in the same historical period and they share a sense of “curiosity”. Photography is part of everyday life and we don’t realize how it has changed our way of thinking, writing and remembering. Fashion photography keeps its strong impact on sensitivity on the public and as Barthes underlines, that photography portrays not just iconic signs of outfits but also fashion meanings, highlighting the association between clothing and the rest of the world. Personally, I am more influenced by the aestethic way of thinking than fashion even though fashion photography follows social changes and identity development.

5. Perceptive Variations: an exhibition about identity, gender, change. How have your works expressed this feeling? How do you express your personal background in your work?

My project “The other side of me” reflects both sides of us, what we do allow and we don’t allow ourselves to show to the rest of the world. This project started from  few reflections on the dichotomy between Good and Evil, between realism and idealism and between individuality and non-being. In this series of images women’s faces cannot be seen, they are hidden by postures and by textiles. The unseen part cannot be shared, demolishing the concept of the portrait that in this era of selfies has been understood as a means to show off, by overturning clichés about the doubt sof the existence.

by Giovanna Pisacane