Photographer based in Milan, Italy
Federico Pompei, Portrait of the photographer
Tell us about yourself, what's your background?
I hail from the lovely town of Teramo in Abruzzo, where my childhood was a mix of simplicity and safety, with the occasional boredom thrown in.
As for the moment I decided to dive into photography, it wasn't a lightning bolt, just a natural progression fueled by my love for the arts and movies. The whole cinematic storytelling vibe, detached from reality, had me hooked.
Pictures from the “Acro” series: Styling @aftertopic_2.0_133 Set Design @iacopocostanzo
Growing up in a non-artsy family, my interest in photography sprouted from the internet, theatres, school books, and yes, even my old Blackberry – a tool that my friends didn't quite appreciate back then. Actually, they hated me for taking tons of pictures of all our crazy moments. It is funny because I had a documentarist approach back then which I completely lost today. Today my work is about something else.
After high school, my fascination with art and fashion led me to London for a stint before I landed in a Fine Arts Academy in Milan. It was there that I discovered my interest in photography, which I mastered only when I had the chance to move back to London. Images turned out to be the language I resonated with the most, prompting me to pursue studies in Contemporary Photography in London. The city and the university left an indelible mark on my photographic style, shaping the way I approach my production today.
Pictures from the “Acro” series: Styling @aftertopic_2.0_133 Set Design @iacopocostanzo
"My work is deeply rooted in my love for grotesque and gothic aesthetics, which echoes in both my personal and commercial projects. Navigating this inclination has its challenges; translating these elements into captivating results for a broad audience requires finesse. Ideas flow organically, and I invest time in crafting them into concepts that hold genuine meaning."
Pictures from the “Acro” series: Styling @aftertopic_2.0_133 Set Design @iacopocostanzo
What are you currently working on and where did the inspiration for it come from?
Currently, my focus is on a recent project that I started just before Christmas—a study of poses featuring two close model friends of mine, an incredible duo of twins who never cease to inspire me. Days before diving into the shoot, we spent time chatting and grabbing drinks because understanding the inner side of the people who feature in my work is essential to me.
"Study on the Uncomfortable Way of Being Doomed, Untitled_Ilenia/Ilaria" 2023
The shoot took place in my home studio, making the most of natural light. The entire process felt incredibly spontaneous and inspiring. I always seek subjects with distinctive characteristics, be it aesthetics or behaviour. This ongoing series, which I've dubbed "Study on the Uncomfortable Way of Being Doomed," draws inspiration from the representation of doom in Dante's Divine Comedy. It's an idea that has been brewing for years, continuously evolving through the process. I don't want to spoil too much about it.
Attempting to interpret such a timeless piece in a modern context is undeniably challenging, and I relish the struggle. The series doesn't adhere literally to the theme; instead, I provided minimal guidance, allowing the models to freely interact and interpret my concept. I aimed to capture the emergence of grotesque aspects of their interactions in their most authentic form. The initial results proved to be a promising starting point for what I believe will be a compelling series.
"Study on the Uncomfortable Way of Being Doomed, Untitled_Ilenia/Ilaria" 2023
Innovation does not only happen in the field of technology — it occurs everyday in a creative practice. What do you do for inspiration?
My approach to staying inspired involves fine-tuning the structure of my visual language. I consistently draw motivation from the works of artists, both historical and contemporary. When I'm on the move, I make it a point to convert my travels into artistic excursions, exploring exhibitions for constructive insights.
While I value exposure to diverse perspectives, I maintain a measured approach. Striking a balance is essential; after all, maintaining a unique artistic approach is paramount in the competitive field of photography.
"Study on the Uncomfortable Way of Being Doomed, Untitled_Ilenia/Ilaria" 2023
Constructive criticism is a linchpin in my journey of personal refinement and innovation. Also, sharing a space with a photographer and a set designer, each with distinct viewpoints provides constant inspiration. Regularly challenging myself allows for a nuanced evaluation of the authenticity and solidity of my visual language development.
Aside from growing by doing more and more shoots, an intriguing practice of mine involves revisiting my digital archive and reworking previous pictures to align with my current artistic language. This process serves as a fruitful exploration, offering insights into the evolution of the medium and my growth as an artist.
I love doing it. I find it cathartic.
Left: "Study on the Uncomfortable Way of Being Doomed, Untitled_Ilenia/Ilaria" 2023
Right: "Untitled (Firenze-Milano)" 2021-2023
Where do ideas start for you? In the studio or being in the world?
I'd say it's a mix of both – the studio and the world.
Everything I experience in life makes me think about how I can translate the ideas into something that is mine. The most interesting aspect for me is to make elements from reality conversate with my vision and vice versa.
For instance, the Acro editorial I submitted to the fall grant cycle was inspired by a dance class I saw and that left me speechless because of the dynamics of that sport. Then I started thinking how I would have envisioned it in my mind and I involved a stylist friend of mine. We contaminated the scenario with fashion elements and the visual outcome came out very spontaneously. It was interesting to see how those specific garments worked in relation the bodies and the exercises of the athletes. Everything was real, since we shot during a training session for a competition, but we added some external elements and it felt as if it was my idea of dance coming to life.
Pictures from the “Acro” series: Styling @aftertopic_2.0_133 Set Design @iacopocostanzo
How do you make your work, does it start with a sketch?
This question really piques my interest because I'm constantly pondering the dynamics of my creative process.
My creative journey usually kicks off in my mind. While external visuals can be sparks of inspiration, the real heart of my work is an idea that simmers for months. I'm not about a documentary approach; rather, I steer away from directly representing reality. Instead, I aim to inject a distinctive perspective, honing in on specific elements—whether people, objects, or atmospheres—that I can transform and give a fresh context, weaving them into a different narrative.
"Untitled (Firenze-Milano)" 2021-2023
My work is deeply rooted in my love for grotesque and gothic aesthetics, which echoes in both my personal and commercial projects. Navigating this inclination has its challenges; translating these elements into captivating results for a broad audience requires finesse. Ideas flow organically, and I invest time in crafting them into concepts that hold genuine meaning.
Doing moodboards it's a bit of a struggle for me, especially when I've already got the end result crystal clear in my head. Maybe I should dive deeper into AI to get some help!
At the core of my practice is the quest for beauty within unconventional contexts, subjects, and environments. This becomes particularly apparent when I'm infusing my creative language into commercial work. An example is my longstanding collaboration with the Swedish brand Avavav. Their fantastic team has often granted me creative carte blanche, resulting in works I'm genuinely proud of. I appreciate their approach to questioning the fashion system, aligning seamlessly with my exploration of unconventional beauty.
Scenes from the studio
Many artists live by their routines, do you have your own studio or work ritual? What does that look like for you?
I consistently identified as a non-studio-based photographer, leading to a certain detachment from established routines. Since last year, my living situation has shifted, and I now live in a house-studio that provides a conducive space for ideation and execution. Interestingly, despite not having had my studio for a long time, my inclination when it comes to pictures leans towards indoor environments over outdoor spaces—a paradoxical preference considering my history. I believe I am a control freak; that is why I prefer to shoot indoors, where I can have everything under control.
Throughout my academic journey, I frequently utilised university photo studios, and during my time in London, I also had the privilege of accessing the photo studios at Spring Studios at basically no cost due to my work association. The element of music has become a consistent leitmotif in my daily life. Whether I am in the studio or out and about with my AirPods, there is always a playlist in the background. No fixed routine in this aspect either; it is always a spontaneous mix of very different artists I enjoy or albums I'm eager to delve deeper into.
Who are your biggest influences?
To be completely honest about my primary influences, I think my visual approach has been profoundly shaped by a fusion of Robert Mapplethorpe and, above all, Tim Burton.
Another photographer I deeply admire is Casper Sejersen. His work represents for me the perfect mix of elegance between artistic and commercial production. He is a master to me.
While there's a multitude of names I hold in high regard, listing them all would be impossible.
Beyond photography, a figure who has significantly impacted my life is the Italian singer Renato Zero. I recommend delving into his story, not just from a musical standpoint. However, it's worth noting that his work is deeply rooted in the Italian context, potentially making it challenging for viewers unfamiliar with the cultural backdrop during the inception of his extensive career.
Are there books or films that are an important source of inspiration?
In my younger years, I had a penchant for collecting DVDs, a testament to my deep obsession with movies. A pivotal film that left an indelible mark on me was "The Nightmare Before Christmas," forever a reference in my life and visual aesthetic. This movie ignited my fascination with the beauty of the grotesque, a theme that continues to captivate me.
Today, I admire the distribution choices of the A24 company, and I highly recommend watching "Beau is Afraid" for its dynamic narrative reminiscent of films like "Mother!" and "The House That Jack Built." I find inspiration in movies with challenging topics or those crafted by enigmatic directors. David Lynch is also a consistent reference in my creative imagination.
Shifting to books, my modest collection includes art and photography volumes and essays. Recently, I added "Flora" by Robert Mapplethorpe and Sofia Coppola's "Archive," both interesting additions. Also, I like to collect fashion catalogues and printed campaigns, primarily from the '90s. This era, marked by brands meticulously showcasing their photographic production, holds a special place in my inspiration, with a focus on details and composition.
Work in progress
What’s the best piece of advice you’ve been given?
Always question your work and get criticism.
What is the best advice you would give to other artists?
Always question your work and get criticism. Also, don't get scared of defining your style forever. The only thing permanent is change lol.
Portrait of the artist
Stay up to date with Federico Pompei
Instagram @petroli0
Website federicopompei.com