Anatomy of photography
Lorenzo Pompeo, novelist, storyteller, translator, knows the function of the word, of its architecture, the double essence of literature in which the point is not only the well written, but also what is told: a good story is enjoyed and also is enjoyed the sublime prosa. That double anatomy of literature also has photography, where the formal, which is governed by plastic laws (harmony, composition, balance, rhythm) must join with that indefinable that makes photography that is and is not testimonial, that leads us to recognize something, a face, a landscape, with that halo of truth that emanates from the photograph, if it were not for that presumption of verisimilitude, photography would not differ from other visual arts. Words are not things, also photos are not, but they both name them, refer them, make them visible, somehow make them present. Lorenzo comes to photography effortlessly, with the clarity of what is naturally done. No one is born knowing, there is always a learning an evolution and in their photos there is an evolution towards the complex but towards the purification. A photo must somehow be read and the reading of his photos point to a deceptive simplicity that reveals depth. Their photos are not naïve, in them coexist in harmony the surprise, the rigorous composition, the charm of the children’s games, the complicit look, the unexpected discovery, the suggestive contract. The importance of the shadow as a complement of the composition , as a contrast and as a double, is essential in reading the photos of Lorenzo. His eyes see, his camera reveals those significant spaces of time where a single image tells us and excites us because it points out the beauty in life that escapes us in its vortex, if it were not for that frozen instant that everything sums up there in the Lorenzo’s art.