These photographs ostentatiously attempt to ignore the importance of form the photographic composition avoiding to give weight to the photographic image itself lest the interest shift from the premium thematic slogan to the work of art. The latter is no longer just a means of conveying a message the more simplistic the more the audience expands and its interest is commercialized. As an inevitable consequence however the role of the creator whose presence is mainly expressed through the form is downgraded. Given the almost common thematic background of art the artist's obsessions arise more through the how than through the what. When the latter manifests itself as has happened in recent years through common places then the personal intervention of the creator recedes even more since he becomes through his work not even the carrier of an original personal message but of a known and common message.
The absence of the personal stamp of the creator e-commerce photo editing reached its limits when some artists faithfully reproduced the works of others thus suggesting that the use and role of a work are dimensions more important than this work and its creator. However it was next for the creators and the public to miss the human trace of the artist an element that sometimes giving rise to admiration and sometimes identification accompanies every creation as an art form. In fact the search for the trace of the creator is unrelated to the knowledge of the real elements of his identity. Behind the paintings of the prehistoric caves or behind the Cycladic figurines hides the luminous presence of an enlightened creator and not the invisible and indifferent hand of a postman.
Because every work of art is This need to detect the personality of the artist led to a new fashion in photography that of illustrating the artist's life possibly in an attempt to personalize the photographic event. More often than not this trend again ignored the importance of the artistic form of the work which would also constitute the essential signature of the artist's personal world and was limited to the simple quotation of images that exploit already known banal incidents or that are mentioned in texts accompanying the photographs . This made it easier for photographers to produce work since their work was limited to illustrating their lives but it also made it easier for the public who are always relieved when they recognize in works of art what they already know. In this way however the photographers unwittingly played into it in what everyone accuses it of as a payment of the medium.