At the intersection of documentary and fiction, The 9th Horse sheds light on the life of a band of semi-feral horses after losing a foal in a wolf attack. Unable to bridge both the loneliness and the grief resulting from the loss, the surviving horses and their groom go back with their memories to the time spent together and evoke the spirit of their friend.
The photographic process reflects such inability by resorting on video surveillance infra-red illuminators as the only light source lighting the new-moon night scenes. These are lights that are outside the visible spectrum, and, as such, they cannot be seen, just like the lost friend, by all the mammals – photographer included.
By repurposing imaging technology for doing video surveillance to the photographic space the lays at the intersection of fine-arts and documentary, I intend to turn surveillance technology towards myself; to record in my images the resulting introspective and confessional investigations. Like humans, horses are in fact gregarious animals, that suffer for the loss of one of their family members. In a sense, the prairie, and its inhabitants, are the allegory of our feeling of loneliness.
“Loneliness, thy other name, thy one true synonym, is prairie.” — William A. Quayle, The Prairie and the Sea (1905)
AUTHOR: Alfonso De Gregorio UNITED ARAB EMIRATES
Alfonso De Gregorio is an Italian fine-art photographer based in Dubai, two-times Winner of the Allard Prize Photography Competition, two-times Nominee of the Fine Art Photography Awards, and HIPA 2017-2018 Finalist. At the intersection of fine arts and documentary, his idea of photography is to raise powerful and political questions about the world we live in. He believes that photography succeeds in doing so when it spotlights social, cultural, and environmental realities, and provides us with new perspectives and lenses for interpreting where we stand.
His photography can be understood as process-based conceptual-documentary photography. Using his information security background, Alfonso researches or develops novel photographic processes. After evaluating their narrative power, he explores a subject-matter worth to be addressed and develops a concept. The final project is the result of the combination of the photographic process and the concept, backed by his craft.
In his latest projects, Alfonso has been repurposing imaging technology for doing video surveillance to the photographic space that lays at the intersection of fine-arts and documentary. He intends to turn surveillance technology towards himself, to record in his images the resulting introspective investigations. In so doing, he intends to address wider realities that also the viewers may have experienced in their lives.
He has participated in exhibitions in San Francisco, Rome, Athens, Krakow, Budapest, Trieste, and Portland.