Imma Di Lillo is an Italian photographer known for her powerful and evocative work in street, travel, and food photography. Born in Capua in 1991, she discovered her passion for visual storytelling at a young age. She pursued her artistic ambitions with formal education, earning a degree in Photography and Cinema from the Academy of Fine Arts in Naples in 2017 and later specializing in photography for communication at the Polytechnic University of Valencia in 2020.
Imma’s professional journey began in 2016 as a set photographer, contributing to Cliciak Scatti di Cinema publications. Her diverse portfolio reflects her ability to capture intimate moments and unique perspectives. One of her most notable projects is Let Yourself Go, initiated during the Effetto 48 festival. This project invites participants to express themselves freely through intimate moments captured in photographs, encouraging reflection and freedom. The series has been exhibited in Italy and printed in Fine Art quality.
Another significant work is Frammenti di Realtà (“Fragments of Reality”), a deeply introspective project that explores the complexities of human emotions through fragmented imagery. It blends documentary and fine art photography, offering a unique view of the human condition.
Imma’s work has been featured on platforms such as Behance and Vogue’s PhotoVogue. She’s also contributed to cultural events like Happening Under Vesuvio, where her images explored human and environmental dynamics. Through her art, Imma Di Lillo continues to push the boundaries of visual storytelling, inspiring audiences with her unique perspective. We had the pleasure to speak with Imma about her career.
Imma, thanks for taking the time to speak with us. Can you share with us your journey into the world of photography and cinema? What initially sparked your interest in these fields?
My interest in photography and cinema started during my time at the Academy of Fine Arts. I enrolled with the intention of learning only photography, but then I became interested in cinema and realized how important this world is. It’s fascinating, especially because, while working on sets, I realized that cinema not only tells the story of the film but also the story behind each person— from the crew to the actors, and even the situation you’re in. My main interest lies in telling stories within stories. I love the idea that stories intertwine, and in the end, that’s cinema, isn’t it?
How did your training at the Academy of Fine Arts in Naples, along with the UPV Polytechnic University of Valencia, influence your approach to photography?
I had the chance to meet professors who treated me as a professional rather than just a student, and this gave me a great added value. I gained more confidence in myself. The training helped me focus on what I truly wanted to do, which was photography. The same goes for my time in Valencia, where I received the tools I needed to better choose my path.
“The Story of Olimpia” was your first photographic project. What inspired you to create this project, and what lessons did you learn from the experience?
“The Story of Olimpia” was also my first exam at the Academy, and I was determined to challenge myself and my own expectations. I decided to set it in the former psychiatric asylum in Aversa because the themes of asylums and the psyche are close to my heart and fascinate me deeply. Specifically, I wanted to immerse myself in the stories of the people who had lived there, considering the conditions under which they were treated in psychiatric institutions. The project also had a personal journey for me because, at first, it was Olimpia who came to me, through a letter I found at the asylum. Through that letter, I built Olimpia’s story. This project helped me grow a lot and taught me how important it is to be empathetic and to build a connection with the protagonist, in this case, Olimpia. I think it was essential to sync with her story in order to tell it in my own way. “The Story of Olimpia” was one of those projects I felt deeply connected to, and I still do today.
Cinema and theater are significant influences in your work. How do these artistic languages inspire your photographic style and projects?
What fascinates me about cinema and theater is the light. I love working with shadows, perhaps because they also represent my state of mind. There are days when I feel perpetually in the shadows, maybe more often than I would like, and others when I feel like a flower blooming in spring, fully in the light. Cinema and theater influence my photography in this way, they are tools that allow me to explore and tell the essence of emotions.
“Fragments of Reality” is a project based on portraiture. What was your creative process for this project, and what message did you hope to convey?
“Fragments of Reality” began on the set of Antonio Capuano, where I had the honor of working closely with the director. During this period, I faced various difficulties, one of the main ones being that Antonio Capuano didn’t like being photographed. I learned to be invisible and not interfere with his creative process. However, this project taught me not to rush and to observe before acting. It’s important to immerse yourself in the atmosphere and understand the energy of a situation before photographing it. The name “Fragments of Reality” comes from this because we are often used to extracting only the perfect version of an event, but for me, it is more important to represent the truth behind each story. Antonio Capuano taught me to see the “real,” to accept it within myself, and then express it. Portraiture, therefore, is not about aesthetic perfection, but about authenticity.
As a young mother, how can you express your experiences and emotions through photography?
Returning to the concept of truth we talked about earlier, motherhood is a theme that deeply touches me. It’s often portrayed perfectly, as if having a child is an endless joy. But, in my opinion, we talk very little about the emotional rollercoaster one goes through. Motherhood is an extraordinary experience but also a terrible one in terms of vulnerability. We don’t talk about it enough, and I think that’s a mistake. If I had to describe motherhood, I would use words like “raw” or “rough.” With my photographic project, I don’t want to portray motherhood as something perfect, but as it truly is: with its scars, its daily routines, the light and shadow that represent me. Motherhood for me was also about feeling alone and misunderstood, especially in the hardest moments. But these moments gave me the courage to approach photography with more determination.
Which project are you most proud of, and why does it hold a special place in your heart?
I don’t believe I have projects that I feel “proud” of in the strictest sense. I think I can always do something more, and maybe that’s a flaw, or maybe not. However, all my projects are dear to me because each one tells a phase of my life, a part of me that I wanted to express. There is no favorite project for me, each one has its own value.
What challenges have you faced as an emerging artist, and how have you overcome them?
Photography is a tool that allows me to express what I have inside and cannot communicate in other ways. One of the biggest challenges was accepting the compromise of having to work as a photographer while “putting aside” my artistic vision to adapt to the demands of the market and clients. But it’s something I’ve learned to manage, trying to find a balance.
How do you balance your personal life and artistic career, especially as a young mother?
I’m still trying to find a balance because I find it really difficult. At the moment, I try to organize my days to make space for work, but also to be present at events and exhibitions, things I used to do more spontaneously before becoming a mother. I manage to give myself time, thanks to the help of my partner and my brother. I believe it’s very important to give yourself time to be someone other than a mother.
What advice would you give to an emerging photographer just starting their journey in photography?
My advice is to believe in your own potential. One of the most important pieces of advice I received from a professor, which may seem trivial but changed my life, was to listen to yourself without letting the surrounding environment influence you too much. Only in this way can you gain clarity about what you really want and have a clear objective, perhaps without thinking about it too much.
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