Through your photos, you reflect on the inconsistencies of contemporary society and its permanent judgment. Which of them would be in the future among those who still have not immortalized? - I want to focus on the incoherence of a world in which children are victims of violence and injustice, both physical and psychological, from those in the home to that of a war. It is a painful and delicate work that I am almost afraid to face, even if I think about it often. - With regard to your work in general, it seems that the red with its endless variations, is the shared history that binds them. It is a random choice, or rather, is it something more? - Red is always a magnet for me, as well as the symbol of the cross. I would use always both. I can not explain why. Of course, red is the color that in a single stroke can evoke everything: passion, flesh, blood, death and life that is born at the same time. It also remembers something unknown of my childhood, as well as a study in the center of Milan in which the red mingled with the smell of oil colors on canvas and on the brushes. But that's another story. - A thought for photography? - Italians collected more photography! -

Donatella, in an interview a few months ago, you have motivated me the choice to become a photographer as something irrational, an emotional factor. Do you feel the same after a few months?   - Yes, absolutely. My photography is irrational and is the daughter of an inner state, as it were, rough and faceted. - After "The Dreamers," "Insomnia" and “Forse così non mi vede”, you are working on a new series: "(NO) Portraits". How did and how do you choose the people who are pictured into your photography?   - (NO) Portraits is an intense series born from the desire to get closer to the other's body in a survey of deep inner analysis. Born with the will to re-appropriation of the term "portrait" in contrast to the banality and the general fashion of selfies, and appearing at all costs perfect, smiling, winning. My pictures do not correspond to a copy from the truth, anything but go in search of what is hidden behind the appearance of the subject, expressing universal feelings almost always linked to the perennial and never resolved the conflict between being and appearance, between soul and body, inside and out. I choose my subjects for a particular that fascinate me, as a look, a physical peculiarity, maybe a defect. My concept of beauty is very relative. Beauty is an inner state, and when I see it emerge I may ask the individual to become my subject. The commissioned works are harder and when I am asked to photograph a person that I did not choose or that I don’t know, it takes me more time: I have to wait for something emerges and then take it on the fly. It's an intriguing challenge: my portraits are often very distorted and sometimes the subject is unrecognizable. The picture is defaced and erased along with the anatomical features that for my purposes may also be insignificant. -

“Jesus Love Me” Artist Donatella Izzo - 2015 June