John Randolph Pepper, (1958) is an Italian photographer, screenwriter, theatre and film director, the son of sculptress Beverly Pepper and journalist/writer Curtis Bill Pepper,
editor of Newsweek and manager of its Rome office. He was born and raised in Rome; lives in Palermo and works worldwide.
Pepper started his career in Black & White analogical photography with an apprenticeship to Ugo Mulas at 14. He published his first photograph at 15 and had his first show at 17.
He studied History of Art at Princeton University, where he was also the youngest member of the exclusive painting program, '185 Nassau Street'. He then became a 'Directing
Fellow' at The American Film Institute, (Los Angeles) and subsequently worked as a director in theatre and film for 20 years. For thirty years, he dedicated himself to
photography while directing both theatre and film. During that time he continued to take photographs with his Leica camera always using the same Ilford HP5 film stock.
John R. Pepper, represented by the Art of Foto Gallery (St. Petersburg, Russia) and The Empty Quarter Gallery (Dubai, UAE), is a 'Cultural Ambassador' of numerous Italian
Institutes of Culture in may parts of the world. Since 2008 he has exhibited his different projects 'Rome: 1969 - An Homage to Italian Neo-Realist Cinema', 'Sans Papier',
'Evaporations' in the United States, France, Italy, the Middle East and Russia. He has published three books and is represented in several major museums around the world.
Since 2015 Pepper has been working on his project 'Inhabited Deserts', where he explores deserts and their effect on time, history and people. 'Inhabited Deserts' debuted in Paris
in November 2017; in September 2018, with the support of the Italian Embassy in Iran and the Italian Foreign Ministry, Pepper exhibited at the Aaran Projects Gallery in Tehran
where he was one of the first Italian photographers since the Iranian Revolution of 1979. In November 2018, after participating at Paris Photo with the Galerie Sophie
Scheidecker, 'Inhabited Deserts' went to Tel Aviv, Israel, representing Italy at the 6th International Photo Festival 'Photo Is:Rael'.
From December 12th 2018 to February 15th Inhabited Deserts was presented at The Empty Quarter Gallery in Dubai, U.A.E. with curatorial text by Kirill Petrin. Subsequently
the show opened on March 19, 2019 in Saint Petersburg, Russia, at the Art of Foto Gallery and shortly thereafter, on April 18th, it returned to Tel Aviv at the NOX Contemporary
Gallery. In 2020 Inhabited Deserts will be seen in the United States and Italy.
Per John Pepper
"When talking about photography, we're talking about time. The image is fixed in time. We also talk about black and white and color, digital and film, reality and punctum - the critical concept of the French philosopher Roland Barthes, denoting the wounding,
personally touching detail, which establishes a direct relationship with the object or person within it.
Is a photographer an artist or not? The ones who feel they are, modestly define
themselves as artisans. Still others, who do not think of themselves as photographers will
snap photos relying on destiny's outcome. Finally, there are the ones who fantasize
conceptual sequences snapped in extravagant situations - most of which without interest.
About photography, much has been said. There are established masters, schools of
thought, and many hopes. Yet whoever is sufficiently open to a vision within himself, who
has cherished and assimilated the masters, will emerge with something new. Passion
triumphs when backed by culture.
When looking at one of John Pepper's photographs - the one with the group of
people, friends and family, in front of their home, for example - I think of Paul Strand's
image in his book, published with Zavattini 'Un paese' del 1955. There is a similar
gathering of characters at the doorstep of their home. Time here is not just in the shutter time and lens aperture - a sixtieth of a second at eight - but in the transformation of the people, in the process of revealing themselves. With John, however, the appearances differ from those of Strand - moved up in time as evident in the shoes and pants, the motorcycle helmet, the technology of the wheelchair and the modern necklace of the young girl.
They appear happy and to be speaking to the photographer. Despite some apparently
expensive upper-class possessions, we perceive they are of a modest condition. In Strand's
photograph, there is no doubt they are of peasant culture. Motionless, they stare at the
photographer with a serious gaze, though ignorant of the world of images. Today, image is
consumerism. It goes beyond diffidence. Everyone can have a camera, a motorcycle helmet
and Nike shoes. People are well nurtured; they have even grown in height.
With John the scene is of movement. The characters interact with ease, and the
photographer is part of the game. He uses black and white film enhanced by the fine art of
printing - images stemming from classical photography.
John was just a boy when he came to my house in Milan, in piazza Castello, above
the studio that once belonged to Ugo. I like to think that the darkroom at that time
influenced him. Who knows? However, I do believe that Ugo's work helped him to become
His reportage in Italy is filtered through the memory of many great photographers -
Diane Arbus, Cartier Bresson, Robert Frank, the first Richard Avedon, and William Klein to
name a few. He has also traveled through Italy, in the streets and byways of youth, finding dramatic, enlightened faces in the theater of life.
His portrait of the religious procession is most beautiful, with a perfect, compact,
composition, among astonished angels and those bearing a religious float against a sharp
background of light.
John lives and works in Palermo, an outward antithesis of New York. An American
born and raised in Italy, it is as an Italian that he grasps the vital spirit, the soul, and the humanity of people. His choice to live in a region like Sicily, so full of contradictions and archaic values, will surely help him in chronicling the history of change in our era.
Then, apart from making art, he will have absorbed it as his own - a part of his life
that will recur in defining time, space, and the evolution of the human condition."
Antonia Mulas, Todi, May 5, 2012