work
Stanza fotogenica#21
| category | Photography |
| subject | Architecture |
| tags | spazio, prospettiva, room, fine art, light, luce artificiale , interior design, staged photography |
| base | 80 cm |
| height | 80 cm |
| depth | 5 cm |
| year | 2022 |
Stefano Tubaro | 'Photogenic rooms' project | 2019 - ongoing
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Stanza fotogenica#21, fine art giclée colour pigment print on cotton paper, 3 copies, assembled on acid-free panel, beech wood frame
•
Rolls, tweezers, basins, slide loaders, film loading coils, 'frames'. These are the objects of a photographic past that Stefano Tubaro collects and places on paper to relaunch, off camera, new identities. Multiple exposure (to light) creates fantastic multiplication that tells of rules that were, of new stories, of invention. And it tells of a great passion, that of the author, for photography. Unique pieces are born that know their positive counterpart in a genetics aimed at leading the relative out of the given starting point in such a way as to create surfaces, spaces... rooms. Where the photographer encloses himself, after a life of objectivity and colour, as in a fantasy world to find his personal dimension of envelopment and thought. The humble servants of the analogue can no longer be read, but they are there. They remain as an ingrained memory of 'photogenic rooms', manually constructed by the photographer like theatres and aimed, as the title says, at aesthetically elevating reality. Rephotographed, this time digitally, they pay homage to photography, to its material history, to its power of transformation in terms of dream, utopia, vision and change. Tubaro's rooms tell this story in a declaration of love for a world that, by changing, changes the world in the memory of itself. "Photogenically.
Francesca Agostinelli
(text for Festival Fotografia Europea, Reggio Emilia, 2020)
[...] Finally, the Photogenic Rooms represent the summa of an almost inexhaustible research. Stefano Tubaro ignores the surrounding reality (closed and pandemic). Eluding any naturalistic reference system, he creates scenographic environments made in a laboratory, where everything is designed ex ante. "Real fictions' of architectural places that have never been inhabited, these rooms have walls and floors decorated with kinetic textures, specially created in the darkroom on photosensitive paper. The artist suggests unexplored circuits of perception that transcend reality. The absence of furnishing elements prevents the scaled perception of spaces that seem immense or small; in these "sculptures of the void" one goes beyond the present in view of possible different scenarios and vital times. The visual reading of the places varies greatly, influenced by the number of light sources illuminating the rooms and their positioning: playing with these variables allows Stefano Tubaro to achieve emotionally involving poetic effects, depending on the intent and exposure of the colours, which are now more ethereal and allusive: indigo, dusty azure greys, the soft shades of antique pinks, the transparencies of golds and the silvery glare of certain sidereal sunsets. Transverse light sources, sometimes directed from above, create balances of shadows that shape spaces in their entirety. The creation of contrasts between accent and mood lighting entrusts the illumination with the establishment of a perceptual hierarchy that enhances individual areas, corners in particular, or the farthest boundaries reached by crossing openings. Through subtle longilinear cuts, light flashes, glimmers and colour blades are generated on ceilings and walls that add a delicate three-dimensional effect to the visual reading. In it, the possibilities are many and depend on what the artist wishes to emphasise: a round window? The suspended, ethereal ground? The softness of the background bordering on the given silence? On the other hand, light/colour, in Stefano Tubaro's recent works, is not just an 'object' of perception, but something that cannot be exhausted in its phenomenon; it is a symbolic concept, a revelation of a disconnected, interior, in some respects meditative and spiritual time. Thus, the event/mirror of the personal-intimistic nature of his poetics is realised in the image of the Photogenic Rooms. Every authentic artistic inspiration of Stefano Tubaro, in the most concrete factual tension, overcomes the limits of the already given or the already assumed and finally opens up to the not yet.
Alessandra Santin
(text of presentation in the exhibition catalogue 'Tracce luminose' Fotografie 1997-2022, Sala Veruda, Palazzo Costanzi, Trieste, 2023)
fine art giclée colour pigment print on cotton paper, 3 copies, assembled on acid free panel, beech wood frame
•
Stanza fotogenica#21, fine art giclée colour pigment print on cotton paper, 3 copies, assembled on acid-free panel, beech wood frame
•
Rolls, tweezers, basins, slide loaders, film loading coils, 'frames'. These are the objects of a photographic past that Stefano Tubaro collects and places on paper to relaunch, off camera, new identities. Multiple exposure (to light) creates fantastic multiplication that tells of rules that were, of new stories, of invention. And it tells of a great passion, that of the author, for photography. Unique pieces are born that know their positive counterpart in a genetics aimed at leading the relative out of the given starting point in such a way as to create surfaces, spaces... rooms. Where the photographer encloses himself, after a life of objectivity and colour, as in a fantasy world to find his personal dimension of envelopment and thought. The humble servants of the analogue can no longer be read, but they are there. They remain as an ingrained memory of 'photogenic rooms', manually constructed by the photographer like theatres and aimed, as the title says, at aesthetically elevating reality. Rephotographed, this time digitally, they pay homage to photography, to its material history, to its power of transformation in terms of dream, utopia, vision and change. Tubaro's rooms tell this story in a declaration of love for a world that, by changing, changes the world in the memory of itself. "Photogenically.
Francesca Agostinelli
(text for Festival Fotografia Europea, Reggio Emilia, 2020)
[...] Finally, the Photogenic Rooms represent the summa of an almost inexhaustible research. Stefano Tubaro ignores the surrounding reality (closed and pandemic). Eluding any naturalistic reference system, he creates scenographic environments made in a laboratory, where everything is designed ex ante. "Real fictions' of architectural places that have never been inhabited, these rooms have walls and floors decorated with kinetic textures, specially created in the darkroom on photosensitive paper. The artist suggests unexplored circuits of perception that transcend reality. The absence of furnishing elements prevents the scaled perception of spaces that seem immense or small; in these "sculptures of the void" one goes beyond the present in view of possible different scenarios and vital times. The visual reading of the places varies greatly, influenced by the number of light sources illuminating the rooms and their positioning: playing with these variables allows Stefano Tubaro to achieve emotionally involving poetic effects, depending on the intent and exposure of the colours, which are now more ethereal and allusive: indigo, dusty azure greys, the soft shades of antique pinks, the transparencies of golds and the silvery glare of certain sidereal sunsets. Transverse light sources, sometimes directed from above, create balances of shadows that shape spaces in their entirety. The creation of contrasts between accent and mood lighting entrusts the illumination with the establishment of a perceptual hierarchy that enhances individual areas, corners in particular, or the farthest boundaries reached by crossing openings. Through subtle longilinear cuts, light flashes, glimmers and colour blades are generated on ceilings and walls that add a delicate three-dimensional effect to the visual reading. In it, the possibilities are many and depend on what the artist wishes to emphasise: a round window? The suspended, ethereal ground? The softness of the background bordering on the given silence? On the other hand, light/colour, in Stefano Tubaro's recent works, is not just an 'object' of perception, but something that cannot be exhausted in its phenomenon; it is a symbolic concept, a revelation of a disconnected, interior, in some respects meditative and spiritual time. Thus, the event/mirror of the personal-intimistic nature of his poetics is realised in the image of the Photogenic Rooms. Every authentic artistic inspiration of Stefano Tubaro, in the most concrete factual tension, overcomes the limits of the already given or the already assumed and finally opens up to the not yet.
Alessandra Santin
(text of presentation in the exhibition catalogue 'Tracce luminose' Fotografie 1997-2022, Sala Veruda, Palazzo Costanzi, Trieste, 2023)
fine art giclée colour pigment print on cotton paper, 3 copies, assembled on acid free panel, beech wood frame
