The book’s space interviews: La plume plongea la tete

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27 nov The book’s space interviews: La plume plongea la tete

Book: La plume plongea la tete
Photographs: Sara Palmieri
Book design: Sara Palmieri
Editor: Self-Published
Date of publishing: June 2015
N° of copies: 50
Dimensions: 15×10,5 cm
Binding: Handmade. Five A3 format refolded to form different types and number of pages, pamphlet sewing binding, semi-transparent soft cover
Paper: Fedrigoni Freelife Vellum White gr. 120

THE BOOK AS A PROJECT


Which are the 5 indispensable pictures for this book?

Photographer: The first and the second images of the book, and the three images A3 format, each consisting of two pictures torn and recomposed. Each of these images symbolically reassumes the whole work and the reflection behind the construction of the book.

What is the framed structure of this book?

P: The book has a very simple structure, it is composed only from 5 sheets A3 format refolded with the same scheme to a format 15×10, each bound only on one of the short sides. This system allows to discover hand hand that skims through the book its mechanics and content. The reading is subjective, the approach of the images can be various and mutable, as the message that arrives.

How did you choose your book designer?

P: I have a background as architect and set designer, for me an idea grows and takes life if is modeled at the same time in the head and in the hands, three-dimensionally. And it was a natural consequence for me to experiment through the book, as alive object, the growth and the improvement of an idea, a project. Only through this process I succeed in totally dipping me in the work that I am doing and I don’t think to where it will bring me, but only to the creative process in itself.

What was your approach to get into the photographic project?

P: My approach in the phase of release is almost never a plan, it is instinctive. I use to work following an emotional thread, rarely an idea previously born. The phase of project begins together with the editing, that is often one with the experimentation through the images as papery and three-dimensional objects that I can recompose and model. Then I see a story.

How did you develop the work on the book?

P: The editing and the experimentation on the book have gone together. The images torn and reassembled were previously born, around the concept of costant dualism of the life (among the human search of the absolute invisible to the eyes, and the reality as we see it), and the metaphors drawn by the writings of Mallarmé, particurarly in the Herodiade. These images had to stay the foundations of the work, without however immediately to be disclosed: then in the book they are hidden, you discover them later. I have worked on the other images following the idea of the liberty of reading and interpretation of the symbols that appears in Mallarmé’s poetic, through folding that allowed to see more images in different combinations.

THE BOOK AS A STORY


Which narrative slant did you choose for this book and why?

P: As stated above, the book can have different readings, and in following moments. To a first opening it could quickly be skimmed through in traditional way a page after the other, without going over. The narration becomes wealthy of information hand hand that the book is handled and discovers, it doesn’t have therefore an one-way, but horizontal and vertical development, somehow without “frame.” As in the poetry of Mallarmé, not all is disclosed, and every word contains entirely in itself the sense of the whole poem, even if it becomes wealthy sentence after sentence.

What’s the difference between the book and the photographic project slant?

P: Through the book the project has found sense, form and voice.

THE BOOK AS AN OBJECT


How did you choose the materials and the kind of printing?

P: I was looking for a paper with a certain consistence that held up the folding and didn’t break with the time, but at the same time soft, to accompany the opening, and “dirty” to the touch. The digital press has been select to contain the costs.

How the materials’ choices are connected to the photographic project?

P: Content and form had to stay the more possible clean, to arrive direct; don’t add therefore with the materials but to accompany and to gently wind. The color of the paper allows the black and white of the photos, that has many shades of gray, to be softer. The ink with the usury fades along the folding, this effect contributes to underline the tones and the dimension of the work. The cover is light: it is a veil, a mirror.



You can also find all the interview archive on 3/3 blog: www.treterzi.org