Eligio talks a lot, he talks to you up close, incessantly, closer and closer; then you look at his photos and see that’s how he is, he’s up close to whatever is going on, closer and closer. He talks and I look at his photos; I ask him to take away the few photos he took with a telephoto lens.
He experiences life in Palestine just a few centimetres from the people, but his participation has none of that rhetoric of that mythicizes danger. This is how he captures normality, he needs it – perhaps it is the only way he knows: close to events every time, he highlights nothing, he is as natural as possible. I realise this work involves physical and mental closeness.
