work
Fa Ruggine (Il desiderio non realizzato non perde di intensità, fa ruggine)
| category | Photography |
| subject | Travels, Political / Social, Nature, Human figure |
| tags | fotografia, ricordi, lontananza, esotico, viaggi, migrazioni, fondali, immaginario |
| base | 15 cm |
| height | 20 cm |
| depth | 0 cm |
| year | 2015 |
short series (3) collage
5 copies
“These collages are closely connected to the work presented and originate from two areas that have interested me for some time now: the practice of photography and the exotic. I am fascinated by photography as a narrative form and in particular by early photography because of the need for inventions and stratagems to deal with the difficulties of technique. Among these, the backdrops, large hand-painted sheets depicting different landscapes, with a column or other architectural element where the posing character would lean. To our eyes, backdrops are fake, but they also represent places with a narrative function. The choice of a given backdrop could take on a meaning in terms of possibility and desire. Starting from some images of emigrants from Malonno, I cut and isolated the characters from the place where the picture was taken and I replaced them, painting exotic backdrops for them. I imagine that those who stayed behind and saw the others leaving, would fantasise over far away and unknown lands. So these collages embody these fantasies. The definition of the exotic is a subject close to me as it is intimately connected to the concept of identity, meant as belonging to a place, and of Eurocentrism, as a dominant category when defining others and their expressivity.”
(from an interview inside the publication “Maybe We Are The Waves” curated by Saul Marcadent)
5 copies
“These collages are closely connected to the work presented and originate from two areas that have interested me for some time now: the practice of photography and the exotic. I am fascinated by photography as a narrative form and in particular by early photography because of the need for inventions and stratagems to deal with the difficulties of technique. Among these, the backdrops, large hand-painted sheets depicting different landscapes, with a column or other architectural element where the posing character would lean. To our eyes, backdrops are fake, but they also represent places with a narrative function. The choice of a given backdrop could take on a meaning in terms of possibility and desire. Starting from some images of emigrants from Malonno, I cut and isolated the characters from the place where the picture was taken and I replaced them, painting exotic backdrops for them. I imagine that those who stayed behind and saw the others leaving, would fantasise over far away and unknown lands. So these collages embody these fantasies. The definition of the exotic is a subject close to me as it is intimately connected to the concept of identity, meant as belonging to a place, and of Eurocentrism, as a dominant category when defining others and their expressivity.”
(from an interview inside the publication “Maybe We Are The Waves” curated by Saul Marcadent)
