It’s rather obvious and reductive to consider Elia Vaccaro just a photographer … surely his competence in photography is high, meticulous and simple but incredibly impressive, striking even the less professional people. Elia Vaccaro himself doesn’t know what he is thinking about while he is shooting! When he is going to shoot, he doesn’t think that a part of him will also come out beyond the model, her dress, the wedding couples and all their thoughts….so he becomes part of his works where content/container and figure/background play together, the artist is elegantly humanised, he becomes an indispensable expert, a fascinating man….like a simple man who frees himself from his defences when shooting, who simply donates us parts of himself using all his undeniable professional gifts. He shows us what his eyes can see and his soul can hear through creativity/passion/intuition, combining them in a unique event. Well, I think that this is very rare but anyway, our dear Elia succeeds in doing that very well.

On the set Elia spreads a sense of tranquillity

Elia? Very good and professional and a nice person as well. He has a very rightful music in his studio!! Great Elia!! It has been a pleasure to work with him

I think that a good photographer should have two necessary gifts: originality and improvisation. Elia owns both of them

Elia’s eye can both see and observe

Elia Vaccaro drives the model to pose wrapping herself up. Her face is pending over her arms like her shoulders, which will “gather” them. We know the mobiles of the artist Calder: leant on a support or hanging by means of a rod. There metal foils painted with leaves join together.
Elia Vaccaro’s photography becomes likewise dynamic. Looking at it from aside, the vertical line of the arm can bend through the hand, which curves inwards into the bust, up to wrap it around. We perceive a rotation of the pose, which used to characterize Calder’s installation art. In Elia Vaccaro’s photos the framing of the vertical line seems to be the starting point for a wrapping movement. The arm would virtually act as “tie-rods” for the “bust spinning top”. The philosopher Bachelard wrote that Being is round. We exist since we experience the actual time. The present is such since it stems from the past, and anticipates the future. Time offers itself through moments that follow each other by always “widening”. Its dynamism is the one of the rounding: the model posing for Elia Vaccaro raises a charm which literally “wraps us around”. The leaning of the face toward the arm or the shoulder flattens the circular movement of the body. In the end, this can be perceived within the figure of the disk, which is evidently round. Even the pupils would tend to arch themselves, so to “cut” the eyeball. With the lines that move down diagonally, and with the wrappings of the figure, Elia Vaccaro’s model might seduce us as though she were a “drum set” (recalling that true drum sets actually have cymbals).