Born in 1989, Roberto Graziano Moro was born in Romania in Timisoara, but grew up on the outskirts of Vicenza. Here, living in contact with the street, while developing a strong character and ready to face the adversities of life, he also approached art, first painting and then, later, photography.
In this way, his lens becomes the means to narrate realities similar to those in which he lived, in a way that is always clear, direct and without frills, in which colour leaves room for black and white, and light with its strong contrasts between light and dark underline the subject that manages to impress itself indelibly in the mind of the viewer.
In recent years, Roberto Graziano Moro has made his art available to music, particularly to the Italian rap and trap scene, becoming a true witness.
His latest project led him to work with the young singer Rayan who, on the occasion of the release of Haram, his last single, wanted to tell the story of his country of origin, Palestine, through a documentary and a photographic reportage.
We interviewed Roberto Graziano Moro and he tells us about his trip to Palestine, but not only! Discover his photographs at the end of the interview.
Tell us how your approach to art started and then how and when your passion for photography began.
Art has always been part of my life, I have been drawing since I was a kid and in my family I have always breathed that air of not “normality”. My passion for photography has slowly developed over the years until it became my job.
Describe your style and what you try to tell us through your shots.
I can’t tell you exactly what kind of style my photography has, I’ve always had a direct and clear approach to express at best what was around me. I’ve been working mainly in the field of music for several years now, I’m talking about a historical time and I want to be a witness of what’s happening in these years. To contribute to photography.
Your last project saw you behind the camera – together with Filippo Bano – for the realization of the video clip of Rayan’s single “Haram” and for the occasion, you flew to Palestine. Tell us about this experience.
For me, it was the second time I’ve been to Palestine, but it’s one of those countries that when you return there you always have a special feeling. I went with Dj MS, Michela Benestà, Filippo Bano and Rayan. We lived everything in a very spontaneous way, following the events. We are clearly talking about a country with important issues behind it, but the inconveniences that we often hear about on TV are partly filtered out by interests, the information we receive is masked or on the contrary, amplified.
It is a very hospitable country, I would compare it a bit to our southern Italy.
But despite all this, it has been a very challenging journey, full of surprises and super interesting meetings including, in particular, Marwan, a friend of Intifaya and Rayan, a special person who gave us great support.
If I had to tell you all about the trip backwards and forwards we could stay here for hours and hours!
Our days always started with a good breakfast very often prepared by Rayan’s dad, after which, camera in hand and ready to shoot until the end of the day. We have toured almost the whole country, from My’ilya to Tel Aviv, from Jerusalem to Bethlehem to the Dead Sea.
We had only one almost unpleasant moment, we were filming the rock desert with the drone, scene that you can see in the first images of the video, until the drone lost the signal and we lost it. Thanks to a light GPS signal we were able to locate it approximately and we started running to look for it, also because the darkness was falling and we would not have had the opportunity to do aerial footage for the rest of the stay. We were climbing the rock dunes until after a good half hour of research we were able to identify it on one side of the mountain, (there we began to scream from the euphoria), where we then recovered it, we managed to return just before the total darkness. In the evening, once we came home we discovered that that was a monitored military area, we had removed the signal from the drone, that’s why it went off suddenly.
In addition to the video clip, released at the end of September, there will also be a documentary and a series of your shots. Can you tell us a preview of what this country and its history have most caught your attention and what will we find in your shots?
I’ve always been fascinated by the Orient and its stories and that’s why I feel a bond with this land. It has something magical, it is still defined as the holy land.
I took Rayan’s story particularly to heart because in some things I was seeing him again even though I didn’t have such a strong past, and so I decided to follow the project together with the others.
What you will find in my shots is not just a simple report, I do not think there is any need to give too many explanations, I leave free interpretation.
You have always followed projects that embrace different fields, from the world of streetwear to that of different urban realities, not to mention that of music as in the latter case. What changes and what remains the same in your approach to work? What was your approach for “Haram”?
I think it’s not the approach between one type of field and another that changes, but it’s the photographer’s approach to understanding the work.
The approach to the work is always the same, I don’t find a difference between one subject and another, in fact with Haram it was all very spontaneous as always, we created good vibes.
Can you tell us something about your future work? Where will photography bring you?
As for the future, I live it day by day and I will continue to do as always, “head down and go”. Right now I’m in Los Angeles, then we’ll see what the future holds for me.