A talk with Jonathan Frantini

How would you describe your relationship with photography?

I would like to answer by quoting William Eggleston: “Whatever it is about pictures, photographs, it’s just about impossible to follow up with words. They don’t have anything to do with each other”.

How would you describe the project realised for Mutina? What were the starting points to develop the concept?

Mutina has bought a building in Modena, in via Blasia, next to the Jewish Quarter, with the aim of turning it into an exclusive residence for their guests. The photographic project came about from the will of documenting the environments both before and after the renovation. Since they were empty spaces, I captured the light, the traces and sings of time.

A part of the project evolved into an editorial featured on Alla Carta 14, where I decided to pair fashion shots and still-life pictures of elements I wanted to enhance. I wanted to place importance to objects and places that usually are not considered or given for granted. Ed Ruscha’s work from 1961 “Seven products, Twentyfive apartments, Three palm trees, Six rooftops and One aerial view” has been a great source of inspiration.

How would you describe your photographic approach?

The project realised for Mutina consists of different parts. The images of the apartments have been realised with a documentary style, without any kind of intervention, paying great attention to details and natural light. Meanwhile, the still-life shots are reconstructed ad hoc: I took some objects and isolated them on a white background. Finally, the editorial has been imagined as an actual representation, where the model becomes protagonist of imaginary performances.

How did you realise the shots? And the prints?

The pictures are 8x10, large-format films printed by contact on photographic paper.

If you were asked to give a title to this series, what would it be?

I think “Motel Mutina” would be a good title for the whole series.