Antonio Strafella was born in 1982 in Lecce, Italy.
He was drawn to photography at a very young age when he furtively discovered his father’s Hasselblad.
His education began at the Art Institute of Lecce (Istituto Statale d’Arte di Lecce), where he earned a diploma in Graphic Advertising and Photography. ??He later furthered his studies in Rome specializing in photography at The European Institute of Design.
In Rome, he continues to develop and refine his personal interpretation of images. Light, immersed in darkness, is a dominant motif of his photography, coupled with his retouching expertise.
Antonio’s professional path is filled with artistic encounters and professional partnerships both with advertising agencies as well as post-production studios. His extensive experience includes international campaigns for ??Nissan, L’Unita, The Ministry of Transport (Ministro dei trasporti), and PD.
He collaborates with Istituto Europeo di Design (IED) and is teaching a photography course there.
Antonio is currently working in both Rome and Milan.
This photographic project came up to my mind in 2003. I ever found curious the individual differences in reaction to meat pieces in the butchery counter. I found really strange that some people was peeved if in the refrigerator aisle there was a dead pig or chicken head. It seems that if in the butchery fridge the head of the animal “is exhibited” it changes also the perception of the object as a whole, as well as of the buying action.
My work, based on this observation, is a kind of experiment about the relation between presentation and interpretation of an image. It is certainly not an attempt to sustain vegetarianism against people who eat meat. Thus, I decided to collect a good amount of shoots of dead animal heads. These heads were previously fixed with pins and frozen, then I shoot the head only after taking the pins off.
At the beginning, I made more brutal shoots: the heads were clearly cut off, blood and cut skin were visible. Further, after dividing the heads in two equal parts I shot also the interior side of them (as I made with the horse’s head).
In the second phase, I soften the visual elements, ever choosing a total black background, showing only the external part of the animal and the heads only if they were cleaned, without blood or evident lesions. The third phase of my work was to ask several people (different age, class and professional background) to observe my pictures.
In sum, I can say that people normally feel uncomfortable with crude cut-off head, while picture of the second phase, softer, have been more appreciated like alive animal pictures.