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Pharmakos
As twilight blanketed another day, Claudio’s living room bore the unusual carpet of Naphta’s photographic oeuvre. It was a sight to behold, a mosaic of moments captured over a four-year journey, now under careful scrutiny. They were meticulously examining each sequence, contemplating the viability of binding this project into a tangible testament of their shared efforts – a book. That particular evening, they extended an invitation, beckoning me to lend my expertise and collaborate with them.
Claudio, constantly influenced by other artists, insisted that this publication was not simply a collection of photos; it was a continuation of a journey, aiming to explore deeper beyond the stage elements.
The first draft, filled with photos and writings, sparked a stark discord between Claudio’s vision and the emerging product. Despite the necessity of separating the images from the texts to define two distinct parts of the book, there was a pressing need for continuity to engage the reader, and to prevent the book from becoming a simple “art catalogue”.
Choosing the right images to accompany the texts was challenging, to avoid distraction and find a harmony between image and word. To address this, a system was developed, allowing Gianluca’s images to serve as a visual summary, symbolically linked to Pharmakos.
This method of deconstructing and reconstructing images, celebrating Gianluca’s photography while creating a new narrative, opened doors to other dimensions. It was a testament to Città di Ebla’s work, going beyond mere production and embracing the realm of creative contamination.