Caveat

Andrea Martino is a young Italian photographer with a background in architecture. Born in Naples in 1996, his hometown shaped his worldview, teaching him to observe space and understand the intricate relationships that are created with it. During his university studies in architecture, he developed a parallel interest in photography, using it as a tool for research and documentation. The photographic language became his main means to explore and narrate what he sees through the lens, investigating the physical environment that surrounds, scrutinizing not only the architectural elements, but also the human relationships that interact with space. Each shot represents an attempt to absorb the atmosphere of the place, allowing the context to suggest its stories. Photography thus becomes a form of visual narration that seeks to capture the essence of places and human connections in a delicate balance between art and documentation.

In his photography project Caveat, the eye of the photographer and the sensibility of the architect are visible. We are pleased that Andrea accepted to be interviewed by Tati Space in order to learn more about the context of the project, his photography process and approaches.

Summary of the Project:

Caveat: a Latin word that sounds like a warning, “beware”. It is the title of a photographic series that explores the caves of Vallone di San Rocco in Naples, a hidden and endangered treasure, a challenge for the eye and the memory. The caves are ancient cavities dug in the yellow tuff, the volcanic material that formed after an eruption of the Campi Flegrei about 12,000 years ago. From these caves Naples grew, which used the tuff for its constructions, but which also gave the caves other uses: shelter, workplace, storage, landfill. Today these caves are covered by an urban jungle that hosts an extraordinary biodiversity, but that leaves an open wound in the rock and in history. The photographic series tries to return a historical and formal “portrait” of these caves, showing their architectural, landscape, environmental, social value. The Caves of Vallone present themselves as urban rooms, where space is a void, where air is closed by matter that traces its boundary. A system that has its own logic, its own geometry, its own aesthetics, but that has remained invisible and inaccessible for a long time, and that now proposes itself to discovery and enhancement. This investigation aims to demonstrate that these quarries are an integral part of Naples’ history and culture, but they are also at risk of degradation and oblivion. The quarries are a dormant giant waiting to be awakened with care and respect, not only as geological heritage but also as a custodian of Neapolitan cultural memory.

Tati Space: How came your interest in photographing the Caves of Vallone di San Rocco in Naples? What was the moment of inspiration?

Andrea: In reality, the project came about somewhat by chance. I learned about this place through some friends, and after an initial walk, it was love at first sight. The awareness of the project I was undertaking didn’t come immediately; rather, it emerged towards the end, following a wealth of stimuli that guided my final work.

The photography process was accompanied by an extended period of information gathering and, most importantly, extensive reconnaissance. Navigating within the valley was not easy, especially considering its current state (with paths that are difficult to traverse and hidden by dense vegetation). Initially, when I visited the first quarries, I didn’t have this project in mind. Everything changed when a friend and university colleague, who was working on a design thesis related to the valley, provided additional details and insights for me to continue my research.

Tati Space: Are the Caves you describe a natural monument, or a historical monument, protected by any law, Italian or international? What is their use for the moment? Are they in public or private ownership. Can you give more information to create an idea bout the context?

Andrea: The photography project focuses solely on abandoned quarries. By examining the Urban Implementarion Plan, it’s possible to determine that the quarries are subject to the constraints of Law 1497 of June 29, 1939, which pertains to the protection of natural beauty. Regarding ownership, some quarries are definitely privately owned and fenced (for example, the quarries where buses are located, such as Cava Aloschi, which is also used as a bus depot). Others, however, are difficult to attribute ownership to, as the area underwent chaotic development in the 1960s, making it challenging to identify the owners.

Vallone San Rocco received an interesting recovery project in 2012, following the initial park redevelopment project that began in 2003 and concluded in 2011. Some of the quarries in the San Rocco valley are privately owned and are currently being used as workshops by local artisans.

Tati Space: What was your approach in photographing the Caves, for example the camera that you used, or any other curiosity from the process of photographing them?

Andrea: Regarding my approach to photography, I adopted pure contemplation—a method that characterizes my way of working. Despite using digital technology, I deliberately slowed down, favoring observation. I take only a few photos because I already know what I’m looking for when I shoot. I like to describe my process using the words of Gabriele Basilico: “I arrive at a place and move around like a dowser searching for the right viewpoint. I walk back and forth; the important thing is to find the right balance between myself, the eye, and the space.”

From a technical perspective, I chose to use the square format and black and white to create timeless images. These cavities are portrayed in their entirety, anthropomorphized as an almost maternal figure that, throughout history, provided material and shelter for the growth and survival of the city and its citizens in Naples.

Post-production was equally important, allowing me to organize the narrative and rediscover and appreciate the locations, uncovering elements that had eluded me during the photographic campaign. In my personal projects, I intentionally slow down in all image processing stages, from pre-production to post-production, almost as if I were working in analog. This approach allows me to appreciate what I am representing and avoid a gluttonous collection of images that I would struggle to synthesize and relate to my thoughts.

Tati Space: Thank you Andrea for sharing your work with us.