I have known restorers, a lot of restorers I started photographing altarpieces, frescoes.
Three are the sacred moments of the documentation, a ritual: The first, the during ( the cleaning, we have already spoken about it, you remember) the final: the rebirth of the work of art.
For the restorers it is a new birth I have joined them in churches in the deep winter, in the convents, sisters, brothers, pastors, few prayers, a lot of cold, damp.
The restorers, a bit like all those who pass hour after hour in solitude, or in the company of only an assistant, become hard, sharp, I would dare to say envious, they cannot stand one another, it is an environment “ not very recommended”.
I met Alberto late on, when the photography of restoration for me was already water passed under the bridge and maybe he showed me another face of the restorers.
Alberto is mild, but not superficial, on the contrary full of passion, enthusiasm, love for life and for his work.
He travels, and this is not to undervalue, a journey, physical or of literature opens the mind.
He has a severe look, but soon after he smiles, laughs, jokes, maybe it is a sign of a shyness in his distant youth.
He has great respect for the interlocutor of the moment, but if he doesn’t like you he doesn’t speak badly of you, if he is not interested, he ignores you, you don’t deserve his time.
When he speaks about his work he lights up, suffers, gets angry.
In painting regret is an afterthought in continual progress, that an artist puts in place, masking the previous version which he doesn’t think is satisfactory.
And the restorers discover the regrets of the artists working on the canvas Alberto’s regret concerning his work regards bureaucracy.
He has never loved restrictions. But you can’t but think well for the future.
the sailor man
I know, skipper,
visiting my studio.
“I sailed, i crossed the desert at 50°,
I’d like to tell the adventures of my life”
Here you can see the latest shooting and video adv, for the newest swimsuits and bags collection Save My Bag.
Here we have Grout Selection, our new Mapei Advertising Campaign
every time I see a “free” thing
I never understand if it means freely or without,
here, it means without, an image made without photoshop, with the spirit
of an exercise, how would it be (how it was)
to create images without photoshop?
and that is: all the “paste item”s that today we do on an image
with the mouse, to do them on the real object, manually, and to photograph it.
For this performance, which clearly has a sense of
communication (the ingredients are authentic, “real” , not virtual) has
been chosen to pay homage to the edible portraits of Arcimboldo,
thus, with specific themes of communication ( the necta range, the brio machine,
the tango machine) original compositions conceived and produced
have been dedicated by a team of stylist food designers
using ingredients of products delivered by machines,
an incredible work, practically senseless,
but philosophically very sensible, like a Tibetan mandala,
to arrive at a click, an advertising image, by its nature
deciduous and passing…
( and with some significant additions in view of the expo, the excellence
of food technology, with the genius of Arcimboldo that illuminates
food made in Italy)
The related short videos are mounted accelerated,
with adequate soundtrack, the Aria of the entrance of the Queen of Saba
from Solomon by Handel,
while the long video instead follows a sound wave of cool jazz.
In the videos, the mandala work of preparation of clicks
is accompanied by questions imprinted over,
“what is quality, how can we recognize it?”
or:”how do you create a work of art” “what does it contain”
and the replies are in the images: unparalleled quality, the art,
the freshness all come from the work, from the method, from the good ingredients
and from the genius, from the hands of who works it.
The final image, photoshop free, is flawless!
Authentic reality, more than the landing on the moon.
I was there.
ART DIRECTION: Luca Crescenzi & Luca Nicola
FOOD DESIGNER: Francesca Versolatto
Guarda i video del Making of
Shooting and Video for Save My Bag.
A wide choice!
If you are in a hurry!
Washable at 30° by hand or machine!
An exemplary story, told in key steps,
A passion which becomes laboratory, work, business.
Started with great enthusiasm, very little money, and an idea, only one, clear:
To amplify what the artist is doing on the stage.
Suonovivo was born in a garage in 1992, two small speakers and a mixer,
Today it is a well known name in the sound technology sector,
Through the years it has been able to grow accepting the continuous challenge of innovative technology,
Calling on new brains, fresh minds.
The strength of this video is at the end, which almost seems a reply to the campaign
“look ahead” produced by Saatchi&Saatchi for enel:
With all the energy of his sixteen years, the youngest of the group declares:
“ for sure I will do this in my life, I will carry forward this company”
How could you not give them credit?
With affection, and irony, I took this group photo of master restorers from Bergamo using their detailed cleaning method as my optics, indeed, for me, who started work as a professional photographer actually documenting restoration work in its various phases, this, more than a picture, is a tribute to knowledge, to the technique of cleaning:
The detailed cleaning is a visual concept with a usefulness which goes beyond the specific sector of restoration, and concerns the sense of every picture: how it was, how it is, how it could be, how it will be.
To photograph a work of restoration is a very technical job, thanks to which you learn to illuminate the object perfectly, above all you learn to illuminate the objects two-dimensionally, it is almost an anti-creative training, rigidly and absolutely technical, purely technical: but in fact, and maybe you realize years later, it teaches you many things.
Firstly, photographing paintings, you learn to make images of images, which then is fundamental every day, from the moment that we live in a society of images, in cities, surroundings, interiors, streets covered in images.
But above all, this detailed cleaning for the photographer becomes a sort of mental app that prefigures the display options in a frame. And in the end, willingly or not, looking at these paintings, this sacred art 1400-1700, these human figures, and what they do, and the objects, and how they are arranged, you learn the rules of the composition of the frame, and from a sacred family derive a portrait of enterprise, from a still life a fashion showcase, from a nativity scene a still life…
And from a last supper a group photo of craftspeople like apostles, disciples of their own professional creed.
“My father” you can say in many ways, and mean many things.
Those who like me, lead a different life to their father, rarely, privately,
in a low voice and modestly, say “my father”
But in an artisan company, from how the son says “my father”,
with his head high, with a strong voice, you can sense a close relationship,
territorial, generational, based on their work.
“Work” is also the first reply that the expert artisan/worker(but young looking)
gives me to the question: “ What do you do?”
“ And how long have you been working?” “Here for 33 years, but I was already working before”
Another, with a look of Clint Eastward:” I started at 13 as an apprentice,
then I arrived at the retirement age of an employee, and now
I have been working for 13 years as an artisan in partnership”
Then a young Viking, who after explaining what he does
(designs to measure, technical designs, autocad, software)
looks at me in the face and reveals his secret, his true strong point:
“my father, all the ideas come from him”
In that “my father” there is a consciousness of a value to hand down,
of a story to continue: “ the carpenter was the one who with a piece
of wood made anything”
Each artisan, deep down, thinks the same thing, also a photographer:
with a camera you can do anything,
and my first photo came to mind, more than 30 years ago,
on a school trip, class 3C, with an old, precious Voigtlander,
the first camera that I used, and with great care:
it had been entrusted to me by my father.