That silence beyond the window
Marco Battezzati is an Italian American photographer currently based in Athens, Georgia, in the US. He obtained a BA in Geological Science from the University of Studies of Milan and an MA in Photography from IUAV (University of Venice). Marco focuses on symbolism and the connections between his subjects and their immediate environment and the space that is occupied.
In his recent project, That silence beyond the window, Marco explores the space between the seen and unseen and how both layers of photography can be perceived and interpreted. The goal is to reveal the composition and layers of reality to break the barrier and create a more detailed image. The technique used to facilitate this connection involves working on close-ups, making precise decisions on the areas of focus in the image through the depth of field, and inviting the viewer to ‘unlock’ the image by deciphering the objects and the connection between them and the subject.
We speak with Marco about his decision to work in Mark Steinmetz’s darkroom, move to the US, and his involvement with the organic farming community. Marco's fascination with Transcendentalist philosophers leads him to contemplate possible perceptions of reality. As he explains, “Experiencing is the way to observe and hear the silence, something unknown in the beginning and contrasts, or at least differs, in the end.” The atmosphere in the image is created based on observation, trial and error practice, and reflection on the subconscious actions.
‘The unknown needs time and can differ from expectations, we can recognize something we already know, but we need to observe the unknown.’
I started working on this project in 2022 when I moved to Athens, Georgia, USA, from my home in Italy to work in Mark Steinmetz’s darkroom. It gave me the opportunity to see and wander through so many images in a new place, new culture, and new geographical realm, where I immediately found and connected with a group of people involved in organic farming. Before moving here, I didn’t know much about the place. Still, I was attracted by the frugal life and inspired by Transcendentalist writers like Thoreau, where center is the reflection of simple living in natural surroundings, living with bare necessities. As I started exploring the southeast, my realization of the process of discovery came to be; the unknown needs time and can differ from expectations, we can recognize something we already know, but we need to observe the unknown. This project wants to answer the question, “What’s the difference between what we see and what really exists?” Experiencing is the way to observe and hear the silence, something unknown in the beginning and contrasts, or at least differs, in the end.
‘I like photography as a practice that works between research and mistakes, where the accompanying words become a result of thoughts from a phase of life.’
Photography practice is a perfect way to process the experience, collecting and cataloguing images, observing and analysing them, it gives you a chance to go through everything, even 'mistakes.' When I fire the shutter or I try a different aperture, I’m choosing my subject, the one in focus, but in the end where is the focus? It could be anywhere, so I need everything, especially, the things I don’t know.
I’m working on making this project a book, and for me, the atmosphere is the key. Images from the project are taken from far away, then closer, and then come the close-up objects. They can seem enigmatic, they are illusory and real at the same time to express an approach to stillness by focusing first on the atmosphere rather than the individual stories of the characters.
I chose That Silence Beyond the Window as the title because the silence is of course something that we can’t hear but is also something we don’t know. The idea of reality is complex and not possible to reach, but if we observe the unfocused elements, we can get closer. This changes our outlook, but there are no real answers, only questions, that move us towards understanding ourselves, our culture, place, a model of society, etc. The window, found in classic art and the first photograph of history, is a symbol of that observation and discovery. I like photography as a practice that works between research and mistakes, where the accompanying words become a result of thoughts from a phase of life. In the future things can be seen differently, but the process and the practice are the way forward.
There are a few frames that enhanced my perspective of the project, including the unfocused flower and the orange in the air. Both cases perfectly represent the practice of research and mistakes, as they are not the results I was looking for in the beginning. And this just became part of the process. I was led to focus on the things I wasn’t reflecting on before firing the shutter. All aspects are important to reach the act of complete focus, which is deeper than what we can see. Herrigel, in his book, Zen in the Art of Archery, is training to reach Zen, showing how the path of practice is time for reflection and clarity of thought. In my project, this point is crucial. Recognising the subconscious actions requires a commitment to exercising this practice. These pictures represent these kinds of actions; we can't control them, but they can help us observe things differently.
