These discontinuously collected images, taken without any particular obsession with accuracy or formal quality, document shop windows. They were captured
quickly, without technical pretensions or deliberate interventions.

What purpose does photography serve today? It seems to have gradually become just one medium among many to occupy attention, to direct the eye toward what should be desired. Most of the images we see daily exist to sell something or, more subtly, to sell themselves.
In this context, the shop window has become the central symbolic object of our time. It organizes desire and filters reality. It is not only a commercial device but also a cultural one: a place where aesthetics meets economics. An object already outdated and bypassed by time, yet it holds within itself the logic for understanding many contemporary phenomena.

There is no moral intent in this work. Nothing is being denounced; no alternative is being proposed. At most, one simply notices. It is acknowledged that the space of the image is now almost entirely occupied by advertising communication.

The unconscious, older than language, drives humans to create images as a primary need. But in today’s society, this impulse has been reduced to a tool of consumption. Behind the shop window, things become commodities; in front, people become audiences. If photography is now absorbed into this mechanism, does it still make sense to produce it?
Cratere, in this exhibition, seems to support a photographic practice that feels no need to amaze, a gesture that does not attempt to compete with the aesthetics of the market, but observes it, almost with boredom. The stylistic choice appears to strip away all layers that obscure the real intentions behind the birth of the image.