Creative Director
01.
02.
Perspectives
How perspective shapes confidence in a world of infinite views
(12min read)
Preface
This is a space for original writing — sometimes tied to my work, often shaped by personal reflection. While the writing here intentionally breaks from convention at times, every choice is deliberate, made in service of clarity and meaning.
→ Zero Sum Game
New York, May 5 - 2025
I was never good at math. Even as a child, numbers felt cold, remote — the kind of language that belonged to other people - the smart ones. And yet, something about numbers fascinated me, not in how they worked, but in what they meant.
One idea haunted me early on: the idea of zero.
At five, I learned the basics easily enough. Three pencils plus three pencils: six.
Five pencils, one taken away: four. Simple arithmetic, visible, countable.
Dividing six pencils between two hands? Things get trickier. It made sense on paper, but in front of me, I still saw six pencils — just in two separate hands. My mind disagrees, yet still - I can learn to accept that the result is: three.
But then came multiplication. If I had three pencils in my hand and multiplied them by zero, the answer was supposed to be zero. And yet, the pencils were still right there in front of me. I could hold them, touch them, count them.
How could a number — an abstract idea — erase what was physically present? For years, this question quietly sat at the back of my mind. I didn’t yet have the words for it, but I was sensing that something didn’t quite (no pun intended) add up. Only much later would I learn that philosophers, mathematicians, and physicists have circled and analyzed this very concept for centuries — questioning whether zero is truly just emptiness, or something far more subtle.
In mathematics, zero stabilizes equations. In physics, it defines equilibrium. In music, silence shapes what we hear. In language, the pause between words gives meaning to speech. Even in Buddhist philosophy, śūnyatā — often translated as “emptiness” — is not a barren void, but the dynamic ground from which all form arises.
What we call “nothing” is often not an absence, but a field of possibility.
So when I look at those three pencils multiplied by zero, I no longer see contradiction or childhood confusion. I see something deeper. Zero does not erase the pencils — it transforms their status. It pulls them into a conceptual space where quantity no longer matters, where presence is held in tension with absence, and where potential quietly waits. We tend to think of zero as an end point — the bottom, the void, the failure.
But perhaps zero is really the threshold — the place where something can begin again. As a child, I thought I didn’t understand math. But now I wonder if math was trying to show me something about life: that what we dismiss as “nothing” is often the silent architecture of possibility.
So here I am, forty years later, still holding that thought. Still holding those pencils. Still standing at zero — where anything could happen.
Through high school, math remained a foreign language — a language only the smart people seemed able to speak. Zero was often the grade I’d get when I couldn’t answer anything. But my math professor was kind enough. “Pignoletti,” he’d say, “just write your first name on the paper — at least I’ll know you can write.”
Thank you, Professor Carlo - you were one of the very few.
→ Perspectives
New York, April 27 - 2025
In photography, perspectives shapes what we see, feel, and believe about an image. Eliott Erwitt and Helen Levitt might point their cameras at the same street corner, but what emerges is unmistakably different — because it’s not just about the scene in front of them; it’s about the perspective they bring behind the lens.
This idea reaches beyond photography. Flip a triangle on its edge, and it becomes a 3D shape. Turn the world upside down, and it stays the same, though it looks completely different. What we see is never the thing itself — it’s the thing from where we stand.
We like to believe we’re masters of observation, but the truth is we can only process one angle at a time. To see fully, we must consciously shift and reframe, and that effort takes energy.
Confidence is often mistaken for clarity or certainty — but what if confidence is simply the ability to commit to a single perspective? To say: This is the view I will stand behind, even though I know there are others. We cannot live suspended in endless possibility; at some point, we must act, decide, and express — even knowing our chosen perspective is partial.
But what, then, is insecurity? On the other side of the spectrum, insecurity may come from the conscious knowledge that we haven’t explored enough perspectives to ground our point of view. It’s the sense that we haven’t covered enough ground to define a clear path forward — and that doubt is, in some ways, a sign of intellectual honesty. It reminds us that certainty without exploration can be shallow, and that sometimes, hesitation comes not from weakness, but from recognizing how much more there is to see.
For those drawn to constant reframing — artists, thinkers, designers — the temptation to explore every angle can become exhausting.
But observation’s power lies precisely here: in shifting, questioning, and resisting the obvious. There’s no final or ultimate perspective, only the ongoing practice of seeing differently.
My perspective is that confidence is not about locking into a single, absolute truth. It’s about acknowledging: yes, this is the right angle — for now.
Confidence implies you’ve observed carefully enough, explored deeply enough, to stand momentarily still. But insecurity, too, plays a role. It signals the honest awareness that we haven’t yet explored enough, that we haven’t gathered the perspectives needed to form a grounded view. Both states — confidence and insecurity — belong to the same dance: the ongoing negotiation between what we know, what we sense, and what we’re still seeking.
Perhaps the world’s simplicity lies not in being reducible, but in being endlessly complex — and in knowing that no single view, confident or doubtful, will ever capture it all.
And then again, this is just another way of seeing things. Another perspective.
01.
02.
Perspectives
How perspective shapes confidence in a world of infinite views
(12min read)
Preface
This is a space for original writing — sometimes tied to my work, often shaped by personal reflection. While the writing here intentionally breaks from convention at times, every choice is deliberate, made in service of clarity and meaning.
→ Zero Sum Game
New York, May 5 - 2025
I was never good at math. Even as a child, numbers felt cold, remote — the kind of language that belonged to other people - the smart ones. And yet, something about numbers fascinated me, not in how they worked, but in what they meant.
One idea haunted me early on: the idea of zero.
At five, I learned the basics easily enough. Three pencils plus three pencils: six.
Five pencils, one taken away: four. Simple arithmetic, visible, countable.
Dividing six pencils between two hands? Things get trickier. It made sense on paper, but in front of me, I still saw six pencils — just in two separate hands. My mind disagrees, yet still - I can learn to accept that the result is: three.
But then came multiplication. If I had three pencils in my hand and multiplied them by zero, the answer was supposed to be zero. And yet, the pencils were still right there in front of me. I could hold them, touch them, count them.
How could a number — an abstract idea — erase what was physically present? For years, this question quietly sat at the back of my mind. I didn’t yet have the words for it, but I was sensing that something didn’t quite (no pun intended) add up. Only much later would I learn that philosophers, mathematicians, and physicists have circled and analyzed this very concept for centuries — questioning whether zero is truly just emptiness, or something far more subtle.
In mathematics, zero stabilizes equations. In physics, it defines equilibrium. In music, silence shapes what we hear. In language, the pause between words gives meaning to speech. Even in Buddhist philosophy, śūnyatā — often translated as “emptiness” — is not a barren void, but the dynamic ground from which all form arises.
What we call “nothing” is often not an absence, but a field of possibility.
So when I look at those three pencils multiplied by zero, I no longer see contradiction or childhood confusion. I see something deeper. Zero does not erase the pencils — it transforms their status. It pulls them into a conceptual space where quantity no longer matters, where presence is held in tension with absence, and where potential quietly waits. We tend to think of zero as an end point — the bottom, the void, the failure.
But perhaps zero is really the threshold — the place where something can begin again. As a child, I thought I didn’t understand math. But now I wonder if math was trying to show me something about life: that what we dismiss as “nothing” is often the silent architecture of possibility.
So here I am, forty years later, still holding that thought. Still holding those pencils. Still standing at zero — where anything could happen.
Through high school, math remained a foreign language — a language only the smart people seemed able to speak. Zero was often the grade I’d get when I couldn’t answer anything. But my math professor was kind enough. “Pignoletti,” he’d say, “just write your first name on the paper — at least I’ll know you can write.”
Thank you, Professor Carlo - you were one of the very few.
→ Perspectives
New York, April 27 - 2025
In photography, perspectives shapes what we see, feel, and believe about an image. Eliott Erwitt and Helen Levitt might point their cameras at the same street corner, but what emerges is unmistakably different — because it’s not just about the scene in front of them; it’s about the perspective they bring behind the lens.
This idea reaches beyond photography. Flip a triangle on its edge, and it becomes a 3D shape. Turn the world upside down, and it stays the same, though it looks completely different. What we see is never the thing itself — it’s the thing from where we stand.
We like to believe we’re masters of observation, but the truth is we can only process one angle at a time. To see fully, we must consciously shift and reframe, and that effort takes energy.
Confidence is often mistaken for clarity or certainty — but what if confidence is simply the ability to commit to a single perspective? To say: This is the view I will stand behind, even though I know there are others. We cannot live suspended in endless possibility; at some point, we must act, decide, and express — even knowing our chosen perspective is partial.
But what, then, is insecurity? On the other side of the spectrum, insecurity may come from the conscious knowledge that we haven’t explored enough perspectives to ground our point of view. It’s the sense that we haven’t covered enough ground to define a clear path forward — and that doubt is, in some ways, a sign of intellectual honesty. It reminds us that certainty without exploration can be shallow, and that sometimes, hesitation comes not from weakness, but from recognizing how much more there is to see.
For those drawn to constant reframing — artists, thinkers, designers — the temptation to explore every angle can become exhausting.
But observation’s power lies precisely here: in shifting, questioning, and resisting the obvious. There’s no final or ultimate perspective, only the ongoing practice of seeing differently.
My perspective is that confidence is not about locking into a single, absolute truth. It’s about acknowledging: yes, this is the right angle — for now.
Confidence implies you’ve observed carefully enough, explored deeply enough, to stand momentarily still. But insecurity, too, plays a role. It signals the honest awareness that we haven’t yet explored enough, that we haven’t gathered the perspectives needed to form a grounded view. Both states — confidence and insecurity — belong to the same dance: the ongoing negotiation between what we know, what we sense, and what we’re still seeking.
Perhaps the world’s simplicity lies not in being reducible, but in being endlessly complex — and in knowing that no single view, confident or doubtful, will ever capture it all.
And then again, this is just another way of seeing things. Another perspective.
+1 (646) 670 6172
New York
Designed and coded by a human. AI is too busy taking over the world.
© 2025 Loris Pignoletti
+1 (646) 670 6172
New York
Designed and coded by a human. AI is too busy taking over the world.
© 2025 Loris Pignoletti
+1 (646) 670 6172
New York
Designed and coded by a human. AI is too busy taking over the world.
© 2025 Loris Pignoletti
Creative Director
Creative Director