How is Psalm a response to a world in crisis?
My book was inspired by the circumstances of the virus, which has overturned our faith in the progressive ideas of history and science. Italian philosopher and poet Giacomo Leopardi used to refer to the optimistic idea of constant human improvement as the “magnificent and progressive destiny” of men, which also aligns with the ideology we inherited from philosophers such as Giambattista Vico, Georg Wilhelm Friedrich Hegel and Karl Marx. This positive perspective has been quashed by the spread of the pandemic. The crisis is profound: it is above all epistemic [relating to knowledge], and therefore also ideological, since it flipped our trust in material progress. I think this is a type of crisis that may procure more instability than both the climate and the political crises.
Can you expand on the link between this body of work and poetry?
Poetry allows instantaneous connections between distant thoughts or images, and it transcends the logic we use to formalise the events of the world. Photography can do the same: it can relate phenomena and emotions in a blink of the shutter. I wanted my pictures to evoke perceptions, as in lyrical poetry. I did not want to describe anything, or comment on the physical world. I wanted to depict the world as it appears to us, devoid of any preconception, ideology or practice that informs us in advance about its structure, or its socio-economic relevance.
Being present, or being in general, is itself a miracle, at least that is what I think. Imagine one keeps their eyes closed for a long time and, all of the sudden, they open them, only for a microsecond. There, the images of the world form, stay for a few instants, and then disappear. What we have perceived of the world is impermanent but astonishing, touching.
This sudden, miraculous appearance of the world reminds me of the nature of a photograph. Jacques Henri Lartigue used to play a game he called “piège-à-l’oeil” (the eye trap), which consisted of blinking his eyes to freeze a scene before him. This game is the reason why he started photographing compulsively, from the age of five. Lartigue was in love with the world and wanted to remember it through photographs.
Photography has the power to reveal the miracle of sight, and the poetry of perception. When we are speechless in front of the spectacle of the world alone, the world alone has to speak for itself.