This shouldn't work. The manipulation should not entice us like it does. It defies any rules we have around photography and leaves us scampering for the rule book. The rule book is something that has been reinvented since photographic invention with its struggle to fit in with the artistic crowd of snappy dressers and fine cocktails. The photographer roams into the party fresh from expedition or the studio, with glue on their hands and tired eyes from de-dusting negatives. The photographer doesn't quite fit in in this scenario. I get the same feeling from Alessandro's work with an absent mind toward the art world itself, leaving time to be invested in discovering photography. This is a refreshing take on the subject and the experimental value of the work leaves me enthralled by his efforts.
This is not to say that everything here is made of gold, and like any experiment some work more than others, that is natural. But what he manages to do is engage us with various material delivering an exciting variety to his practice.
The cut and paste qualities remind me of the 'Foam aesthetic' or internet culture, a theme my articles cover quite a bit, yet the execution is made with devastatingly curious eyes. It feels a more genuine representation of the thought process the photographer enters. But much more than that.
I always feel to discuss the process goes someway to discrediting the artist and their overall output. However the process is inherent to the intended meaning and runs as the undercurrent throughout the set of images. Wrestling with its existence as an object the photograph is dissected and analyzed through old and new methods. Found photography, a theme throughout contemporary work, lands strong blows to the sparse dissections of fruit stalls. The people in line, with a blurry grain, this is all to see, you don't need me to describe it to you.
Where this work takes us is the main talking point, as the photograph is no longer the end of the process. It is now the beginning. The printing process, the post production becomes the focal point. It becomes more important than the subject itself.
With an active interest in the production of art, techniques are borrowed to form multi-disciplinary actions. It seems to me that this is a great way to travel sideways, as the tides of photography travel up and down and eventually left and right to progress forward.