這個拍攝計劃集結了一連串的視覺誤差與短路。這些照片很顯然地是在鏡子前拍攝的——應該要看到拍攝者才對，但拍攝者卻是無形的。也就是說，這些照片呈現出來的是鏡子前方沒有被拍攝者擋住的景象。而照理來說，在鏡子前的拍攝者永遠無法目睹這些景象，因為拍攝的人必定會成為鏡子與身後景象之間的阻礙。

從立陶宛象徵主義詩人Jurgis Baltrušaitis關於鏡子與影像偏差的寫作裡可以嗅出些端倪，但更相關的是德國物理學家海森堡的測不準原理，單單觀察現實的行為便已改變了現實本身。我們站到鏡子前，鏡中的映像則每分每秒因為我們的干擾而有所變化，因此我們永遠無法看到若是自己不在場時、鏡子正確反映出的真實景象，除非我們將自己徹底抹除。誤差、去作者化、意識到自身成為干擾的認知與對自我影像的否定如自己施加的反偶像主義等等，成為Leonardo攝影創作中不可或缺的元素，他總是希望能夠捕捉到不可視或幾乎消失的影像。

與有些人在鏡頭前感到不安一樣，當我們看著自己的照片時會感到有點怪怪的、好似我們不總能完全認可畫面上的自己。而當人像與景物相遇時，所呈現出的照片同時可以是肖像照或單純的生活測寫，又可能是兩者皆非。事實上，要怎樣才能合理地將一張照片視作為肖像照呢？這些作品的構圖乍看像是鏡中人的自拍照，但又因為主角的缺席而觸發了另一種影像的機制。

The MeError project collects a series of short circuits, of visual errors. Apparently they are simple photos taken in front of a mirror: we should see ourselves reflected in it, but we don’t, as if we were invisible. In other words these pictures show us what mirrors reflect when we are not in front of them. Real images, that exist in the world, but that we can never witness, for we are their own interference.

We should start by mentioning the writings of Jurgis Baltrušaitis on the matter of mirrors and mistakes. But it is the Heisenberg's uncertainty principle that really comes at hand. The mere act of observing reality has already changed it, and that’s exactly what happens every time we step in front of a mirror: the image that was reflected a moment before is modified by our appearance. So, we will never be able to observe directly what a mirror shows when we are not in front of it. Only disappearing, we can observe reality without alterations.

The error, the disappearing of the self, the acknowledgment of ourselves as disturbing elements, the denial of our own image – almost a self-imposed iconoclasm, are all deep rooted elements. In my photography there is always the urge of taking pictures unseen, almost vanishing. The sensation of unease that some people feels in front of a camera is equally relevant. A discomfort that probably comes when we look at our own image, in which not always we can fully recognize ourselves.Thus self-portrait and still life collide, creating images that are both the things and none at the same time. In fact, up to where is it legitimate to speak of portrait? Each one of these pictures premise it and the vertical format is clear about that. Yet is our very absence that triggers the mechanism of the image.

 

 

Leonardo Magrelli
http://www.leonardomagrelli.com/