You won’t find any photos of tiny hamsters eating tiny burritos here.

This selection, from innumerable shots I have taken in the streets of New York for the past twenty years, is a social study, but also a mirror, reflecting both my opinions about what I see out there and fragments of the subjects’ emotions, as I perceive them, while I walk across a city called home by over eight million people and invaded by over 60 million tourists every year.

I realize that there are more questions than answers to be found in these frames — undoubtedly, I keep trying to photograph what is mostly concealed or usually not bothered to explore: the undisclosed feelings of people I don’t know.

The results are not very encouraging: my camera just keeps aiming at an ever-increasing display of social disconnect and existential pain, amongst islands of carelessness. Yet another reminder, perhaps, of what that song says about New York City: “If you can make it here, you can make it anywhere”. I am saddened, but not surprised, to report that many subjects of my photos appear not actually able to “make it” here, others, barely able to ”make the best of it”, while here.

Although fragments from this body of work have been occasionally featured in exhibitions, I was never able to elicit a desired socio-economic, political or philosophical discourse to be aptly illustrated by these photographs.

Giovanni Savino

Giovanni Savino never received any formal photographic training but somehow managed to work in photography for most of his life.
His practice dramatically changed direction in the last few years: he decided to distance himself from digital image making, something he had pursued mainly to fulfill a demand for speed and immediacy from clients.

He went back to his first passion: large format “slow photography”. Inspired by the early masters of portraiture, such as John Garo and Yousuf Karsh, he pursues an unorthodox, low-tech self-sufficiency in everything photographic, possibly reminiscent of Miroslav Tichy.

Savino’s current visual philosophy could be perceived as his personal effort to counteract the technology-enabled photographic bulimia of our times.