Usually the amateur is defined as an immature state of the artist: someone who cannot — or will not — achieve the mastery of a profession. But in the field of photographic practice, it is the amateur, on the contrary, who is the assumption of the professional: for it is he who stands closer to the (i)noeme(i) of Photography.

Valéry used to speak of those people who die in an accident because they are unwilling to let go of their umbrellas; how many subjects repressed, refracted, blinded as to their true sexuality, <i>because they are unwilling to let go of a stereotype.</i>

In wrestling, nothing exists unless it exists totally, there is no symbol, no allusion, everything is given exhaustively; leaving nothing in shadow, the gesture severs every parasitical meaning and ceremonially presents the public with a pure and full signification, three dimensional, like Nature. Such emphasis is nothing but the popular and ancestral image of the perfect intelligibility of reality. What is enacted by wrestling, then, is an ideal intelligence of things, a euphoria of humanity, raised for a while out of the constitutive ambiguity of everyday situations and installed in a panoramic vision of a univocal Nature, in which signs finally correspond to causes without obstacle, without evasion, and without contradiction.