Below is the English translation of my most recent article for La ONG’s blog. This time I interviewed Venezuelan photographer Costanza de Rogatis, with special focus on her social media images. The original Spanish can be found here.
Costanza de Rogatis (Caracas, 1976) holds a B.A. in Arts from Universidad Central de Venezuela and a Diploma in Photography from the Fondazione Studio Marangoni in Florence. She has participated in numerous group exhibitions, in countries such as Venezuela, Italy, the United States, Latvia, and Finland. This past August, she opened the individual show Puente at Tresy3 gallery in Caracas. However, I know Costanza’s work mostly through her personal Instagram, where she has developed a discourse that unifies the aesthetics of her work in other formats with the possibilities of mobile photography – more recently, she has been sharing a series on the body titled with the hashtag #Aquí (here). Focusing on her work on this social network, I asked Costanza for an interview via a collaborative Google Doc, in which we sketched out some reflections and shared screenshots. The following text is the result of that exchange.
Before starting this Doc I looked at your Instagram grid once again, and I sensed a proposition of sorts –not just a theme or aesthetic, but a conscious display. I’m interested in several things about your use of the Instagram platform. How has the language of the snapshot with a mobile camera forced or helped you develop other facets of your photographic language?
The aesthetics of the snapshot interests me because it is instantaneous and leaves little room for pretensions. I like the idea of being able to make pictures without more preparation than carrying my cell phone and making photographs as I need to on that particular day. It often happens that in producing some of these images I have an impulse to see what I can do with the shapes of my body, as my mood changes throughout the day or week… also, the directness of the snapshot makes it very close and real to me.
I find it interesting when a professional photographer shares her work on Instagram, because the moment of consumption (or contemplation) is totally uncontrollable. Your audience is scrolling down according to their own preferences, and your image might be visualized in the middle of others that may collide with it or decontextualize it. Have you ever had this in mind?
The truth is I don’t think about how my images will be seen within the maremagnum of images on Instagram… I imagine that among my followers are the people who work with me at the office, my relatives, people I have met by chance, and total strangers, and all of them have a different background and interests that are different from mine. I suppose that, to some of them, my images of the body might seem strange, but it’s something that I can’t control. I don’t think I care to control it either. Mine is just a voice –maybe just a few words– in that stream of glittering visual information.
And with respect to your grid, do you approach the “assembly” of your own profile consciously, with any proposal?
I like to think of my grid as a thread with a certain visual continuity. It is definitely not a narrative, but when I make my images, I see the order they are carrying and I try not to allow any cacophony between them, or if there are any, I try for it to take me somewhere. The grid helps me understand where I go, and question why certain images I like more or less in relation to others.