The consumerism is integral part of our life system. The human being breathes, eats, sleeps and buys. The purchase has become a primary need, as well as the feeling of belonging and of identity that is enclosed in every single subject “bartered” with the vile money. If at first commerce was seen as a symbol of the society and of the socialization, in which the buyers created a direct relationship with the operators, buying the object directly, nowadays, with the e-commerce we have lost the unique relational glimmer of pooling that bonds the precarious net of humankind. The society of storage and waste has lost the common source of the exchange and of the need, hiding itself behind the outrageous advertising to disguise the exploitation of the Third-world that is behind the big brands. As, in a way, Oliviero Toscani considered to be effective to pursue his radical ideas, crushing himself behind a brand that needed to hide the atrocities of its production, affirming that “conformity is the worst enemy of creativity”; in the other way there is somebody who has used his art keeping the deontology and the ethics that come from it. Alejandro Jodorowsky affirmed as morality ties the imagery, limiting the creativity; his critics to society is an uptake, a welfare state inside the awareness of the world corruption: it doesn’t go over bad things that can happen, it goes through them. In this combination of thoughts the project “Consumo Ergo Sum” gets birth, the choice of the Latin language recalls the loss of our cultural roots. The images are full of interpretations revealing the sign and giving a relation between the beneficiary and the object of every representations. An umbrella, a pair of sunglasses, a picture frame, and even a pair of boots, every single element gets into relation with the buyer becoming a sort of an extension of the person who has decided to own it. Everyone of these women, deepen in an oniric dimension, almost nostalgic, stretches in the space, making a forced metamorphosis and aware of not to get out of it. None of them is proud of her own condition but all of them live as if it was normal, as if that object substituted an organ with an artificial element. The camera is no longer silent but it gets inexorably in their world as if it was an extension of my arm.
