Conceptual nominee

This series of still lifes explores time as a silent force acting on everyday objects. Common items are removed from their functional context and photographed in a state of suspension, as if held in a moment preceding their inevitable transformation or disappearance.
The project draws visual inspiration from the tradition of still life and Vanitas painting, where objects function as symbols of impermanence. This historical language is reinterpreted through a contemporary photographic approach, using essential compositions and fields of color creating a conciliatory feeling.
Photography, a medium traditionally associated with freezing the instant, is here employed to make the passage of time visible through its effects on matter—melting, breaking, consumption, and decomposition.
At first glance, the images appear ordered and reassuring. This apparent harmony contrasts with the symbolic meaning shared by the objects, subtly evoking a memento mori. The tension between aesthetic attraction and underlying fragility becomes central to the work.
Rather than documenting a specific event, the series constructs a suspended narrative space. The photographs invite the viewer to slow down and reflect on time, and how ephemeral are the things of the world.

My name is Filippo Capodaglio and I am a photographer based in Italy.
My relationship with photography began early and developed through an instinctive and hands-on practice. During my youth, working in a self-built darkroom, I discovered black-and-white film development and printing, an experience that shaped my understanding of photography as a process connected to time, waiting, and transformation.
I studied photography at CFP Riccardo Bauer in Milan, where I developed a solid technical foundation and a critical awareness of the photographic language. After my studies, I worked as an assistant in several studios in Milan within the commercial and advertising field, later continuing independently.
Over time, this professional experience led me to question a practice driven primarily by commission, prompting a return to photography as a form of artistic research. Today my work focuses on personal projects that explore the relationship between form and content, with particular attention to time and the tension between staging and reality. Photography functions for me as a tool of investigation and as a means to engage with the real.