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P.R.C. (Prototype Contemporary Romantic) is a cross-arts manifesto inspired by romantic poetics in a contemporary key, expressed mainly through the power of images.

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P.R.C. (Prototipo Romantico Contemporaneo) wants to be a visual expression of the totality where the author-photographer tries to detach himself from reportage references in order to place his own series in a poetic and introspective sphere full of symbols and visions, maintaining however the contact with the concreteness of an image. Photography becomes a resolving instrument against the invisibility of the person, against the annulment and refusal of the reality of facts by the individual defeated by contemporary society. The city itself therefore becomes the structure of the individual that generates his identity. The photographer in this case is placed in an elitist position, absent and present from the reality described. He listens and analyzes the world on which he rests his feet, like a photograph that exists only through the support on which it is printed, working on themes such as the relationship between architecture and feeling, action and reaction on the background of a provincial city, generating a silent world that denounces those who are suppressed by the mediocrity of the built world, in a relationship of inevitable cause and effect. Prototipo Romantico Contemporaneo comes to describe the author on an introspective level as well as telling the inhabitants of this place without directly representing them. This intellectual process born on its own land was born from the necessity to represent all this complex of impressions through visual art distinguished by a character that comes from the study and rediscovery of the romantic poetics already experienced by local authors such as, Francesco Paolo Michetti in a figurative way and by the words of D’annunzio, illustrious representatives of the places where the whole project develops. Today’s resumption of these themes is justified by a progressive fading of intrinsic values that characterized the identity of those who inhabited the places portrayed in the series, caused perhaps by the typical problems of worldliness, more wide-ranging, by the modern society that inhabits the peripheral areas of the whole country and that are often characterized by a cultural discomfort, up to the most consistent problems, such as the lack of work or the territorial policies that are not always adequate to the contemporary age, in addition to the progressive opening towards an unrestrained globalized world with the consequent migration of thousands of people towards foreign countries in search of a better future. The landscapes chase metaphysical atmospheres, forgotten provincial landscapes that within them find a possible connection with the history of our ancestors for an ideal reunion with them to find a fragmented cultural richness. In search of a new identity, more aware of their origins, with a wealth acquired in modern life. Beyond photography, the sphere on which the author reflects is, as said before, all-encompassing. It concerns, for example, the importance of a solemn ethic of photographic work in itself, which leads us to be consistent with our own person, with the same figure that then transpires in the images of the series. Sometimes we can deceive everyone with one or more masks by virtue of keeping our discomforts inside our bodies, which sometimes compensates or defeats the disease of feelings; but it is precisely the feelings that are the subject of the series told. The example of the so-called romantic hero, resembles a good reference to support this thesis; Like looking through the banks of fog represented in the famous painting by Caspar David Friedrich, manifesto of the artistic/poetic current of Romanticism, which highlights according to the author’s analysis a similarity of the uncertain fate having as its only fault that of being aware of his own fate, in a complex confrontation with his own anxieties. The background in this case is a provincial town or a peaceful place apparently unrelated to the facts. The community decides the will of the masses and massification determines us as numbers, it is certain that such a theory would be appropriate for a science fiction film, yet it is precisely what the author believes can represent our future if we ignore the ignorance of our present. Perhaps it is precisely the conviction to think of a simple and universal art in a complex world, the real thread of the series in question that wants to get right in the chest of the viewer. Sometimes we forget to be human towards those who are reduced to be excluded for having pursued their own idea of person and not that of the community in force. The same story would suffice, without leaving aside nagging truths, that man is by nature free and able to define rules only for fear that they will be twisted against himself, curious no? Who knows if the inventor of the rule of time today was really convinced that time itself was really born through its hourly sign. This leads us to think, to be there or to evade reality. To be a symbol or silence?

The photographs in Contemporary Romantic Prototype are precisely balanced between these two realities.

” Of a neutral space to the feeling of sweet waves Appears the great and calm lightness that I feel gushing inside my soul An effective flame made of pompous thoughts and sweet solutions able to enlighten me with sweetened images to transform the ground where the step becomes deep. The great beach eliminates the traces of the past and leaves the hand of man neutral Without cardinal points or against the wind, the ode to thought rejoices through the rhythm of breathing and the intensity of our steps. A neutral space in the province of the great desert capable of reaching contemplation where the artificial fills. It is an unrepeatable breath of everything that serves the grace I make the best antidote”.



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