Rafael calls his pictures "Broken Dreams", Moriyama called his pictures fears, D'Agata called them obsession and darkness.
Bottom line, all the above fall under what André Breton termed "convulsive beauty" in the Manifesto of Surrealism.
The same goes for Kertesz's distortions, Man Ray's violin, Atget's shop windows ...
Dadaism appeared post WWI, hand-by-hand with Surrealism as an anti-bourgeois protest "against this world of mutual destruction." As a scream against the madness of collective homicide.
But why now, at times of relative peace, this cyclical re-emerging of the opposite of everything? Why still go beyond aesthetics, offending the established harmony?
It is because almost two centuries of photography could not convince us that perfection in art can perdure. Better technologies, cameras, films, lenses, sensors came to provide crisp images able to be magnified at gigantic levels. And yet, we merrily and happily embrace Man Ray's words: "I would photograph an idea rather than an object, a dream rather than an idea." (Photos by Rafael Ianos)
One day in the city faces become invisible. We don't see them, they don't see us. They pass by us, they pass through us, deconstructed in shadows and mostly out of focus.
But it's not them, it's us who put the barriers, it's us who stop communicating, who start looking without seeing, it's us who will suffer for a long period this lack of vision. Until someone or something will push the panic button, will press force quit and move to trash "Escape yourself, and gravity, hear me, cease to speak that I may speak, Restart and re-boot yourself, You're free to go!"
And then one day in the city faces become visible again. Only that they are transformed, they are not the same anymore, we are not the same anymore! (Photos by Rafael Ianos)
This series is composed of photos in which light, shadow and the human presence are predominant. Small fragments of objects, body parts and gestures combine with abundant light and dazzling darkness to create a simple moment or a unique sensation. They are everyday street scenes that we all see but in our daily rush they are overlooked and we forget to value them.
This focus represents an attraction to simplicity, natural and indistinct things, emotions and invisible connections between people and the surroundings.
This is a broad series, with no boundaries, just small pieces combined to create a specific feeling. (Raphael Ianos)