The End of the World May As Well Be Green: Alessandro Silverj Captures Time, Memory, and the Fragility of Existence
In this interview by Martina Cantore, Alessandro Silverj discusses his unique approach to photography, where he explores themes of isolation, inner turmoil, and the uncertain future of humanity. His work often draws inspiration from dystopian literature, particularly J.G. Ballard, and focuses on capturing the relationship between mankind and nature's overwhelming forces.
© Alessandro Silverj
This interview has been in the books for a long time for me and Mr. Silverj. You see, I’ve known Alessandro for years—he’s my neighbor. The first time he ever took a picture of me was on my 22nd birthday when I was smoking a joint on the roof of my house in Rome with my best friend. After that, we became friends of sorts; he’d photograph me occasionally, and I’d get to see his projects and ask questions. Alessandro might seem a little intimidating at first, with his hand-rolled cigarettes and dark tattoos, but his photographs—which sometimes even contain color—are a testament to his lucid eye and vertiginous depth.
At the heart of Alessandro's art is a focus on the complexity of human experience: Themes of loneliness, introspection, and emotion take center stage. Rather than maintaining an artistic distance, Alessandro immerses himself in the depths of feeling and intimacy, as seen in notable works like Shelter and the recently published Drowned.
When I first saw the book the first thing that came to mind wasn’t Ballard (his main inspiration), but a poem by Federico Garcia Lorca: “Romance Sonambulo” starts with the lines “Verde que te quero verde” (“Green, I love you green”). It’s a poem about love and death, hope and hopelessness. The end of the world may as well be green.
In this interview, we explore Drowned and take a glimpse into the workings of Alessandro’s artistry: His approach in capturing the interplay between people and their environments, and his thoughts on the use of color, light, and movement in his work. We delve into how his art explores loneliness and the symbolism of water, as well as his personal journey and what “home” means to him. With this interview I hope to offer a frame to Alessandro’s mesmerizing work in order for you to understand the inner workings of photographer who invites us to confront the end of the world and seek solace, comfort, redemption, and companionship.
© Alessandro Silverj
Interview with Alessandro Silverj
Martina Cantore — Look at me there, col broncio…There’s an interesting mix of portraits and landscapes/details in your work. How do people and humanity fit into this new world you want to design?
Alessandro Silverj — People and humanity are at the heart of the world I try to tell. Portraits and landscapes/details are not separate elements, but interconnected, reflecting the inherent relationship between the individual and the environment. My works seek to capture the complexity of human experiences, highlighting how humanity shapes and is shaped by the world around it. In this new world, each visual element contributes to telling a larger story.
Martina Cantore — The titles of your more notable works, Shelter and Drowned (and I’m not just saying this because I’m in them), suggest a certain detachment from the subject and/or material. Ennio Flaiano once said that, like tragedy, art requires the right distance. How important is distance to you in your art? Do you believe maintaining a certain distance is necessary?
Alessandro Silverj — Distance in art is not an absolute requirement, but rather a stylistic choice that, while it may have its merits in certain contexts, should not be seen as a universal necessity.
In the case of projects like Shelter and Drowned, emotional involvement and intensity are key elements. These are not the result of distant contemplation, but of immersion in the deep waters of emotion and intimacy. The concept of distance, in this context, is a self-imposed limitation that risks diminishing its impact, relegating it to a sterile exercise.
Martina Cantore — Loneliness appears to be a recurring theme in your work. Is your interest in providing reassurance, offer an illustration, or romanticize it?
Loneliness in my works is never represented in a single dimension. It serves to illustrate the human condition in its purity, sometimes offering a kind of comfort through understanding and acceptance, at other times evoking a melancholic beauty that can be almost romantic. My intent is to explore multiple facets of loneliness, allowing everyone to reflect on their own existence in relation to this universal condition.
Martina Cantore — You are most known for using of black and white - what inspired you to work with color in Drowned?
Alessandro Silverj — The use of color in Drowned was a deliberate choice. Color adds dimension, an intensity that black and white, however powerful, cannot always convey. I wanted the color in Drowned to reflect the nuances, the fluidity of water and the transformations it induces, creating a more immersive visual experience.
Martina Cantore — Could you elaborate on the movement of the camera and the use of out-of-focus pictures? What does (not) seeing clearly mean to you?
Alessandro Silverj — The out-of-focus images in my works are tools to explore perception and subjective reality. Not seeing clearly can represent the uncertainty, mystery and complexity of situations. Blur and movement create a sense of dynamism and introspection, suggesting that truth is never static, but constantly evolving. I hope these visual elements invite the viewer to look beyond the surface, to search for hidden meanings.
Martina Cantore — Your use of light often feels nostalgic and dramatic. Can you discuss the significance of light in your work?
Alessandro Silverj — Honestly, I don’t think about light that much when I’m working, it's not something I focus on intentionally. For me, if I can see you clearly in the frame, that's good enough! I’m more interested in the content and emotion of my work. Light just kind of comes and goes naturally. There are a lot of artists who pay close attention to lighting and do amazing things with it, but that’s not really my thing. I just try to capture the essence of what I’m seeing and feeling at the moment. I hope that makes sense…
Martina Cantore — The imagery and title of your work, along with your words - apart from the reference to Ballard - evoke the imagery of the biblical flood that kept Noah's ark afloat in Genesis. While not implying religious iconography, what serves as the higher power, the pillar, the North Star guiding your work?
Alessandro Silverj — I do not believe it is a religious entity, but rather a philosophical and aesthetic principle that aims to explore the depths of human experience.
My north star remains the ongoing investigation of emotions, interactions and hidden meanings in everyday situations. This pillar guides my creative process, keeping my work anchored in sincere and profound research.
Martina Cantore — Many literary works, from the Bible to Dante, Langston Hughes to García Lorca, Mac Miller and Frank Ocean, use water as powerful symbolism: For some, water purifies sins; for others, swimming and drowning metaphorically represent the complexities and struggles of life . In your work Drowned, what does water and its flow symbolize? Is water a friend or foe, or, does its significance lie in how we navigate it?
Alessandro Silverj — In Drowned, water represents both the regenerative and destructive forces of nature and life. Its flow symbolizes the passage of time, and the inevitable transformations and challenges we encounter along the way. Water is neither friend nor foe, but an omnipresent presence that challenges us and pushes us to confront ourselves. The real meaning lies in how we choose to navigate these waters.
Martina Cantore — People and (seemingly) abandoned buildings inhabit these pages; what is home to you? Is it a person? Is it the four walls that surround you as you lay in bed? Is it a feeling? A safe heaven?
Alessandro Silverj — Home is not simply a physical place, it is a deeper concept, where the threads of love and care are woven together, where every look, every gesture, and every word resonate with unconditional affection.
Home is the safe haven where we can lower our defenses, where vulnerability is no cause for shame. It is the feeling of being completely accepted and understood, of belonging to something greater than ourselves. It is the essence of what makes us feel loved and safe, it is love made tangible, an oasis of serenity in an often turbulent world, where instead we often have to wear masks to survive.
© Alessandro Silverj
Favourites:
Films
Persona by Ingmar Bergman, Stalker by Andrej Tarkovskij, L'Eclisse by Michelangelo Antonioni
Songs
Fear - John Cale, New Dawn Fades - Joy Division, Supernaut - Black Sabbath
Artists
Pier Paolo Pasolini, Egon Schiele, Jean Paul Sartre
In Drowned, Alessandro Silverj explores a world on the brink, where the future of the cosmos is uncertain. Through striking images, he captures solitary figures in turbulent, ever-changing landscapes that connect our reality with a parallel one. Inspired by J.G. Ballard's The Drowned World, the book portrays the planet's potential devastation and the overwhelming power of nature. Alessandro suggests that humanity’s survival depends on finding balance between the inner self and the outside world, and that moving away from past destruction is the only way to build a better future.