SEBASTIANO EDOARDO CASELLA

THE ARMENIANS

A Visual Narrative

Armenia Map Sketch

In 2019, I moved to Armenia. The collection of photographs I present on this page is a small selection of images I have taken during my time here, drawn from a larger body of work. I did not want to portray a country that is usually approached from its most familiar perspectives. Instead, I chose to dedicate my time to capturing lesser-known scenes, sometimes abstract, sometimes more social in nature.

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Saint John the Baptist Church, in Kond

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Kanakeravan, a village nearby Yerevan

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Sevan lake in summer

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Scene from a birthday with diaspora armenians

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A tablecloth with the Armenian alphabet

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Yerevani "shuka" (market)

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Yerevani "shuka" (market)

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Kornidzor, border with Azerbaijan

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Around Khor Virap, Ararat on the background

These are images I captured during my walks around the country, while attending events, or while working on documentary projects I was involved in during my time here. The intention was and still is to know more about the country

Nagorno-Karabakh collection Nagorno-Karabakh collection Nagorno-Karabakh collection Nagorno-Karabakh collection

The Nagorno-Karabakh War of 2020

The photography collection I intend to present also includes several shots from the 2020 Nagorno-Karabakh (Artsakh for the armenians) war. It features images from Stepanakert, Shushi, and Dadivank, where I traveled to document the very first and the final days of the conflict.

A tablecloth with the Armenian alphabet (Detail)

An hardcover photography book

Today, my goal is to turn all of this into a book that can tell the story in a different way, bringing to light aspects I haven’t been able to find in other works I’ve had the chance to explore and come to know. This is the country I live in, and the one I want to keep telling, always.

I find it important to be able to speak about this country in a slower, more thoughtful way. In this sense, print-based reproduction becomes a significant medium, as it forces us to pause and engage more attentively with the image—both visually and physically, through touch and observation. The online world does not fully satisfy this need, as it is constantly distracted and excessively fast.

I believe that slowness should be reclaimed and, above all, preserved, since today it is increasingly at risk of being perceived as a flaw. This is even more true when speaking about a complex country like Armenia, which requires the right degree of attention—something that a constantly accelerating world too often fails to grant or properly honor.

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