[The following text is the official English version of an extensive dialogue with Yeşim Mutlu. Originally released on Haberler.com and subsequently featured as a comprehensive visual experience on Yeşim’s personal platform, this conversation explores the philosophical core of my recent projects. I am sharing it here to provide my international audience with the full conceptual framework of our exchange]
Introduction by Yeşim Mutlu
Nothing in life is accidental; there are only moments when our paths cross when the time is right. Sometimes, a single photograph can be the beginning of a long dialogue that transcends borders. When I first encountered Simone Zeffiro’s work on LinkedIn, it wasn’t just his use of light that struck me. The silence within that frame made me feel that this would turn into something more than a mere artistic encounter.
Throughout this interview process, which spanned nearly two months, we had long conversations about art, photography, human nature, and the “unseen.” The resulting text is not just a classic Q&A; it became a creative common ground between two people who approach photography and storytelling with the same passion.
An artist who has proven his success with honours from the International Photography Awards (IPA) and was named “Photographer of the Month” by the world-renowned Hasselblad, Italian Fine Art photographer Simone Zeffiro agreed to share some of his private works for the first time for this interview. Now, I invite you on a journey into those invisible worlds he has built between light, shadow, and silence.
-YM- In your architectural shots, you seem to photograph not just stones and shadows, but a certain “silence” left behind by past experiences. For you, what is the most powerful emotion whispered by an old building or an empty corridor?
-SZ- I have always been fascinated by certain types of buildings and structures, especially those that are abandoned and left in disuse. I am constantly struck by the human ability to conceive and create something that appears indestructible, only to then abandon it to its fate.
In my series “The Lost House”, for example, the subject was an old village school converted into an orphanage. Seeing it left to the elements and worn by time conveyed a sense of melancholy and sadness, feelings that became fascinating when thinking of the children who once lived under that roof. That place needed to be documented with the strength and drama it deserved, while also highlighting its architectural side.
I speak in the past tense because that building was eventually demolished. Anyone passing by that location now sees nothing, only an empty space merging into the countryside. I am glad I created that series: in this way, a place erased by the same hands that created it will continue to exist through my images.
-YM- Your high-contrast black-and-white style seems to strip the world of its gray areas, reducing it to its absolute essence. Is this sharp contrast a search for clarity within your inner world, or a reflection of the hidden tragedies within life itself?
-SZ- We live in a historical period where there is a constant search for common ground, in culture, rights, and the habits of individuals and the masses alike. There is an effort to conform everything into grey areas, while I believe many things are simply black or white. My way of seeing and creating black and white is the artistic manifestation of my mindset. I find that the strong contrast between these two extremes, while allowing for shades of gray only when strictly necessary, better represents reality. At least, my reality.
-YM- In your latest series exploring “The Unseen,” you focus on the void beyond objects. Could we say that you use the camera not just as a tool, but as a “key” to make the invisible visible? What are you hiding within that void?
-SZ- I believe it is not necessarily a matter of void, but rather of the “invisible,” concealed behind appearances. The daily rush, combined with a certain degree of superficiality, often leads us to see things only for their intended function. However, nature and even the simple objects that are part of our everyday lives can reveal something far more fascinating through a change of perspective.
In my latest series, “The Illusive Architecture”, I sought to do exactly this: use a simple element like a roll of raw packing paper to deceive the gaze and create an imposing rocky landscape. In this case as well, the management of light and shadow was fundamental to achieving a verisimilar result. Generally speaking, at least for me, inspiration does not necessarily have to emerge from an internal void. Sometimes it is born from intuition or the sheer chance occurrence of an event.
-YM- The dramatic hand figures you shared — reaching out almost desperately — reminded me of the collective pain and search of humanity, rather than just an individual. Are these hands seeking salvation, or are they simply trying to say, “I am here”?
-SZ- This photograph was captured at Wat Rong Khun in Chiang Rai, Thailand, commonly known as the White Temple. In Buddhist belief, these hands reaching from the earth represent the desire and greed that one must overcome to reach enlightenment.
However, my gaze, shaped by Western Christian culture and faith, saw something different: a vast multitude of souls seeking salvation and relief. It was a vision as terrifying as it is hypnotic. The choice of monochrome was almost inevitable; the white plaster of the temple itself dictated this stylistic direction. Even years later, looking at these frames, I still experience the exact moment when, through the viewfinder, I realized I was not creating a simple travel document, but images capable of generating profound sensations, whether positive or negative.
-YM- You manage to give even a simple broccoli the majesty of a monument, a tree, or a giant structure. How does your mind transform when discovering the hidden splendor within everyday objects?
-SZ- I do not believe there is a codified or well-defined mechanism. As I have mentioned, artistic vision often arrives when least expected, while on other occasions I may deliberate on a potential shot for months. It is never an identical or repeatable process. That would be monotonous, wouldn’t you agree?
The photograph you mentioned, a simple still life of a broccoli, shows how much our surroundings can hide something truly surprising. It demonstrates that nature is an art form in itself, and our task is to interpret it to grant it artistic dignity. Every single millimeter of this subject, in its marvelous complexity, was rendered to its fullest thanks to the use of a Hasselblad medium format system. This helped me to amplify the visual impact, making a common object resemble the majesty of an ancient tree.
-YM- For Simone, is taking a photo a victory over time, or a surrender to it?
-SZ- I would like to start with a premise. We live in a historical moment where photography, driven by digital technology and social networks, has become a compulsive daily habit. Usage has turned into abuse. In the analogic era, considering the costs and the time required for development, one captured image with a much higher level of awareness.
There is an unmatched poetry in a printed photograph: the power to immediately unlock a memory by holding a physical image of family or a past summer. Today, this ritual is nearly lost. For the most meticulous, photos are files cataloged on a hard drive; for everyone else, they remain mere megabytes occupying space on a smartphone.
To answer your question, I have always believed that a photograph acts as a bridge between the past and the future, anchored in the present of a specific moment. In my artistic work, I strive to create something timeless: pieces that can be appreciated regardless of the era or the observer.
-YM- Does the light of the Renaissance or the shadows of the present day nourish you more?
-SZ- In all forms of art, not just photography, I believe that inspiration must draw from both directions. Each of us develops an aesthetic taste shaped by our upbringing and surroundings. Relying exclusively on one of the two would be limiting. I believe it is through our cultural heritage that we are better equipped to experience and interpret the present, ultimately generating something that is uniquely our own.
-YM- In the moment you press the shutter, does a specific sentence form in your mind? Or does photography begin where words end?
-SZ- I must admit that your interpretation is spot on. I often perceive my works as if they were waiting for their second chapter. Despite this, my inspiration remains pure vision and pure sensation, devoid of words or text to describe it.
First comes the idea, then the capture, and immediately after, my ritual begins: I analyse the image, I process it, and once satisfied, I close everything. I let it decant like a fine wine. If the next day I look at it again and feel the same emotion I felt during its creation, then I validate it and it officially enters my archive. Words never enter this ritual. For this reason, I greatly admire artists who have the ability to describe their work in minute detail. Personally, I find it difficult to do so.
-YM- Do you believe that the power of photography can soothe the chaos of the world and unite people in a shared “silence”?
-SZ- This wonderful interview, which has quickly evolved into a beautiful dialogue between two people with much to say in different ways, represents a bridge between different countries and cultures. Photography, much like writing, painting, or sculpture, is a form of expression that transcends language and geography. It has always been this way, and I believe it always will be.
You mentioned Italy as a land of art and culture, but Turkey is certainly no less significant. It is no coincidence that so many Italians visit your country every year to admire its wonders and its sense of ritual. In my opinion, the most important thing is to embrace this exchange of cultures and art with deep respect for one another. With the necessary silence.
Yeşim, allow me to add a final reflection to our exchange. I want to sincerely thank you for this moment and for the page we have created together. This would not have been possible without your immense effort in researching and understanding my vision. You have truly entered my world, capturing its deepest nuances. No question was accidental, and no premise was cliché. Your genuine, professional, and profound approach made this dialogue a true pleasure for me.
Closing Reflection by Yeşim Mutlu
Simone, you are very kind.
Simone’s meticulousness and his approach to detail provided me not just with an interview experience, but with a space to rethink art itself. Each special composition he shared with humility, claiming “I didn’t exert much effort,” is actually the most precious indicator of time and labor dedicated to art.
Some photographs are not merely looked at; they live inside the mind for a long time. Simone’s black-and-white world leaves exactly that kind of impact. Photography can tell with silence what words cannot explain. Perhaps the universal side of art begins right here.
It is a great joy for me to accompany the first stop of this creative exchange extending from Italy to Turkey. Dear Simone, thank you for this sincere and deep journey. May your light, your shadows, and your gaze in pursuit of the unseen always continue to produce new stories.
YSM
Interview on Haberler
Yeşim Mutlu – Simone Zeffiro ile Görünmeyenin Peşinde – Haberler.com
Interview on YSM Platform