Paolo Pellegrin
[Photographer, b. 1964, Rome, lives in Paris.]

 You want to be more vulnerable because that’s how your photography becomes more human. In a sense you want to become a totally blank canvas so the subject or situation reflects him or itself upon you. 
 It sometimes happens that you just know... You have a feeling that things are coinciding, and that they operate and work on a number of levels—obviously visual aesthetics, but also content and narrative in terms of the bigger picture. When document and metaphor come together. 
 We photographers live in a constant state of schizophrenia because of what we see, what we feel and what we have to overcome. 
 I’m more interested in a photography that is “unfinished”—a photography that is suggestive and can trigger a conversation or dialogue. There are pictures that are closed, finished, to which there is no way in. 
 Photography is much like writing to me. It’s a voice. 
 ..the abstraction of black and white allows photography to speak in more symbolic terms. Color, sometimes, is all too real. 
 In my work, I present questions and concerns. [It’s] the opportunity to put a system of antibodies into circulation, without any pretense of making the world a better place, but to start a conversation with the world.