Sonia Sabnani photographs Viccarbe chrome finishes

Through her camera, Sonia approached the two finishes Viccarbe introduces this season: the expressive reflection of Glossy Chrome, present in Noha and Noha Executive, and the restrained shine of Satin Chrome, extended to Perxa, Ears, Funda, Quadra and Maarten.

Behind both, the same process: trivalent chromium in place of the hexavalent chromium still common in the industry, a decision made, above all, for the health of those who apply it on the factory floor. That was the ground where Sonia worked, among pieces fresh off the production line and the light of an industrial warehouse.

The result is a set of images that carries her personal language (color, composition, freshness) into the factory space, with the furniture as protagonist. We invite you to discover, first-hand, what this work was like, and a little more about Sonia.

— In fashion editorial work, people are the center of the frame and objects interact with the models in the background. In this project the roles are reversed: the furniture is the protagonist and the human figure appears as a secondary gesture. What was that shift in relationship like for you?

I always try to keep the same aesthetic in my work, no matter what I’m photographing. In this case, the product was the protagonist, so I focused on finding the right set and the right frame to give it all the attention. The person becomes more of a gesture that accompanies the piece, without ever stealing the spotlight from the furniture. I liked the idea of collaborating with Viccarbe because, from the very first moment, they gave me the freedom to photograph their products with a closer, more personal aesthetic — and that’s exactly what let me bring my own style to the product in a natural way.

— The brief was clear: promote a new Viccarbe finish within our own industrial facilities. What was the process of finding interest in these spaces, and the dialogue with the product, the colors and the materiality?

The idea was to make the most of the industrial space and find the corners that worked well with the product. I paid attention to the colors, the textures, and kept looking for contrasts that would make the piece stand out.

— The project documents a finish made through a more responsible process for the people who work with it. Did that change the way you looked at the material through the lens?

Honestly, getting to know the process a little better makes you appreciate all the work behind it so much more. I think that comes through in the way I photographed it, and in how it gives value to the product.

— Finally, outside this collaboration: what do you feel more comfortable working with, people or objects? Are you developing any personal project at the moment?

Right now I’m a bit in between. I started out in fashion, where everything moves very fast, and I think that made me much more demanding and perfectionist about my work. Little by little I’ve also been moving into the world of product and interior photography, which have a different rhythm, but where that same level of detail still matters a great deal. Honestly, I love that combination, and being able to bring my way of working — treating every project like a small editorial — into something fresher and calmer. And yes, I am working on a personal project right now, though it’s still very much in progress.

Looking forward to see it. In the meantime we enjoy her last commissioned work with Viccarbe to highlight our new chrome finishings.