"In the past, it was frequently asked to photography to let us see the real shape of reality. On the other hand, other visual arts were asked to show us the song, the radiance, the dream.
Lanzafame’s work inverts this relationship; giving to photography, to the same act of getting a picture; to the accurately composed scene that she obtains; to the complicated ritual that allows her to photograph such a scene, the power of dream and thought creation.
Catching the reality, capturing and perceiving the movement… for her, those are cages. The old and traditional “law” for the photographer: being an eye, an impeccable and imperious eye which, prescribes what others have to see. She emotionally rejects such law.
All her work shows this will to get free from this heavy ethic of the gaze. Trying to eliminate as much as possible what has been defined as the ocular purpose of the photography. Many more or less complex games in which the lens, without pose, do not show the visible. While, wrongfully, the invisible arises; passes and leaves her traces on the “film”.
Lanzafame reconstructs situations that go beyond the dream, expressing in her images the rhythm and the meaning of past and what will transpire in the future. She proceeds through a sequence of images both tied and discontinuous.
These pictures are the example of how photography can move so greatly to give the impression of dissolved light which is made of. In order to become, even if for just a moment, “liquid”, “gas” and take us to the unequivocal evidence of reality.
But it is just a superficial layer; a reality that in order to become truth, it needs to go through to a more complexed and cognitive process. The process of finding connections, senses, needs that are not immediately seen as obvious.
This is what I think our author wants to tell us when she shows us, for example, naked bodies or feminine figures playing with a coloured balloon in frightening corridors. Those are the “no places”, those “places not to live” and to rapidly take you to “places to live”. Many of us, born in anonymous apartments, we lived and played during most of our childhood. These “no places” where children were not considered as “people”. Unconsciously, as children, we had this almost abstract experience to live in an empty world; a closeted world, no space, no freedom; Freedom belonged to the light gas of a balloon. We wanted to keep it safe because it was a piece of freedom we could not lose. Even though, only by losing it, we could see that freedom actually existed.
If Lanzafame wanted to tell us these things or even more things; or If she made us thought about these or even more, she unequivocally communicated her poetry and a certain unexpected power in the art of photography."
Massimo Papa - Autoscatti dell'Anima (2011)