Let’s try to imagine that you are a fan of flowers photography. One day, in a field, you will find the perfect sunflower: each petal is equal to the others, there isn’t a ruined leaf, the color is perfect. Right, you will spend a day to photograph it.

The next day, during a walk, you’ll cross another field, with millions of perfect sunflowers, absolutely identical to each other.

From the initial enthusiasm soon you will be bored, than a little scared.

You’ll seek, then, the only imperfect sunflower, the beauty that lies in the differences.

In this time the push to a standard aesthetic is very strong. I’m not a sociologist, I can only imagine a few reasons: the market, the ideological crisis, the fear of the “different” or of not being accepted as such, the lack of real targets that brings exasperated attention to the aesthetic aspects of the person.

And, so, we care more for the effects of gravity on our bottom than to the health of neighbors and relatives, we eat sad tofu food, we avoid any sensual pleasure, considering it harmful to our precious body.

An exaggerated attention to nutrition, sports practiced not for pleasure or competition, but for aesthetic conformity, plastic surgery and, in general, the obsessive care of the body are multiplying the army of the ”plastic people“.

People that are all identical, so stressed out and unhappy, obsessed with the management of their body, but always sick, hypochondriacs with no real goals.

They are formally anti-racist, but then at home they shout to their spouses for his unpresentable body, his gray hair, in other words, they practice a sinister aesthetic racism.

The “plastic people” are difficult to photograph, or rather impossible, they have faces that do not tell anything, just a veil of ascetic sadness, perfect bodies that do not get anywhere, even if they travel up to the antipodes.

The “plastic people” are not just infotografabile, they are also infrequentabile.

Defects are the map of our life, tangible signs that tell stories, pleasures, joys and sorrows.

So we have to learn to accept and cultivate the defect and, and, if we are photographers, to enhance it and interpret it.