Unnamed by Michele Vittori

Edition: Original print, 10 copies.
Authentication: Numbered certificate signed by the artist, invoice.
Medium: Photography.
Technique: Museum quality fine art print.
Colour: UltraChrome K3 pigment inks.
Media: Hahnemühle, FineArt Baryta 300g paper.
Print: Photo with white surround.
Framing: Mounted on Dibond® with recessed frame, Floater frame.

 553.89 1438.12 inc. VAT

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Further information

Method of payment: Secure card payment via our partner Stripe, Paypal, bank transfer.
Lead time prior to shipping: 7 days for a print, 15 days for a framed print.
Delivery: To your home address or a collection point. Almost anywhere worldwide.
Delivery fee: Free, small charge for certain destinations.
Durability: Colour stability, indoor UV resistance thanks to mineral pigment inks encapsulated in resin projected on a 100% Alpha cellulose backing.
Lifespan: 75 years without deterioration with normal indoor exposure. Results of tests carried out in independent laboratories.
Maintenance: Stable ambient surroundings recommended for the work. Avoid variations in temperature and humidity. Avoid direct sunlight.
Recommended humidity level: 35 to 65%.
Recommended temperature: 10 to 30°C.
Standards and certification: Acid and lignin-free. Standard ISO 9706 long life.

About the artist

Michele Vittori (Rome, 1980) specialises in landscape documentary photography. He began studying photography in 2008 attending “Graffiti” school and “Officine Fotografiche” in Rome. His research focuses on the central Italian Apennines and inland areas emphasising the relationship between man and territory. Since 2015 he has contributed to the “Limine” collective, with his photographic series entitled “La montagna di Roma”. The project, supervised by Massimo Siragusa, was presented at “Officine Fotografiche” and a limited edition has been published. Since 2017 he has contributed to “Lo stato delle Cose”, a project documenting the earthquake of 2016 in the centre of Italy. He collaborates with magazines and editorial projects and has presented his photos in exhibitions and festivals. 

Instagram: mhlvittori

More about Michele Vittori

ON THE
TECHNICAL
SIDE

How did you choose your means of expression?

I have always been interested in visual arts spanning from painting to conceptual art. At the age of 27 I took up photography and I never stopped.

Is this medium secondary to or closely linked to your subject?

Looking at the world through the camera is crucial; the images are the result of our camera-mediated gaze.

What material do you use and why?

My itinerant photography requires equipment that is light. I use a Mirrorless Full-Frame (Sony A7ii) and sometimes I take snapshots with a compact film camera

How does a work session take shape?

My work focuses on the internal regions of central Italy. I use a lot of maps to find places that have something to say to me or a detail that adds something to my personal research on the landscape.

Can you explain to me how your work has evolved since starting out?

I experience photography in a very personal way. I have never enjoyed portraying people. I realised over time that thanks to the landscape I was able to focus on the most important aspects such as my experience, memory and more generally man’s relationship with the territory.

ON A MORE
PERSONAL
NOTE

Do your origins and culture play a role in the works that you produce?

I was born and grew up in the province of Rome and all my photography reflects places that are somehow part of my culture and experience.

Which events have influenced you most?

All roads crossed, especially secondary and dusty roads. Also becoming the father of two beautiful children gives you an unexpected awareness of small things.

What are your sources of inspiration?

Art, cinema, books, I also listen to a lot of music from alternative rock to electronic music. Life

Are current events taken into account in your production or on the contrary do you distance yourself from them?

My photography is more contemplative. We certainly cannot escape what is happening around us, such as the climate crisis and our relationship with nature at this historical time.

ON A MORE
PHILOSOPHICAL
NOTE

Do you wish to make viewers wonder or do you prefer to question them?

I don’t like to be surprised, on the contrary, I believe that art should create questions, offer points of view that we had not considered.

How do you view human beings, and consequently your work?

I see human beings distracted by so many useless things and often focussing on constructing artificial images of themselves and the world. My work partly aims to represent what we really are, through the territory, with all our limitations.

How would you compare your last work with the next?

The more time passes finding fulfilment in one’s job is difficult. You need to go further, it is difficult.

IN
CONCLUSION

How do you view your own work?

I’m always one step away from giving up everything. Then an idea comes and everything starts again.

What are your current and future projects?

To continue to photograph especially for myself, for personal growth. I recently finished a new photography project made with archival materials that I am very happy with.

Do you have anything else to add? I’ll let you have the last word…

Thanks