!["Tota pulchra es Maria"](_files/opere/2013_50746_200105.jpg ""Tota pulchra es Maria"")
"Tota pulchra es Maria"
The error in L'Aquila
pictures of Maria Francesca Tirelli
The report of an impromptu party in the streets of the broken heart of L'Aquila, is inevitably put into account the difficulty of grasping the contours and stable bodies and spaces, the precise lines of flight or which line to follow, especially if probably not there are not even in the reality represented in the photographic project of Maria Francesca Tirelli.
Bacchante crowd dancing on the rubble, buildings enmeshed in hugs iron, space used improperly by scaffolding that wobble, shake and plotting against the tranquility of citizens without home, but hanging the keys to hope to return soon to open its doors to life: that's what the show shots "Tota pulchra es Maria" made in L'Aquila in the summer of 2011 with his eyes tired and distracted, after a day of excitement and action in the city devastated.
Errors focus on the crowd, as the keys hanging from the scaffolding, and evoke a sense even tried to cheat when shooting, denouncing something beyond the immediate eye fatigue or hand.
From the joy of the jubilant crowd in the square (Photo 5), in a moment he runs to the memory of the flight in the same streets. The frenzy of the dance sublimates the time of fear, keeping him with the rhythm of a tremor intimate unquenchable.
Instead, install the tinkling of keys hanging waiting to be useful (Photo 2), it generates a creative phenomenon more complex and intriguing evocation of memory, with the same cathartic emotional reversal. A vision of "magic" and beneficial appears superimposed on the regular and effective reality. Thanks mistake of focusing on the photographer, the viewer suspend the regular direct vision of reality and witnessing the appearance of a new configuration surprising to behold with wonder. Disappears naivete, cynicism, the anguish of vision "before" to make room in a glance instant and "smiling" to a new state of things, more interesting, perhaps more edifying, illusory but equally authentic. It 's easier to understand this concept remembering "the good thing is bad and the ugly and beautiful" witches in Shakespeare's MacBeth. And as happens in front of a magic trick or an illusion - of which you are obviously aware of the existence of a trick leads and reduces the magical gesture to the simple normal - you prefer to satisfy the "trick" to save the smile of wonder light that emerges spontaneously and naturally on the face of the beholder and you consciously subdue illusion.
With obvious errors photographer so open up new visions of reality or super-creative and evocative visions. And in this case, to capture the sense latent error and not too far behind the tragedy of L'Aquila for the superficial or dishonest human negligence, the distance is short.
pictures of Maria Francesca Tirelli
The report of an impromptu party in the streets of the broken heart of L'Aquila, is inevitably put into account the difficulty of grasping the contours and stable bodies and spaces, the precise lines of flight or which line to follow, especially if probably not there are not even in the reality represented in the photographic project of Maria Francesca Tirelli.
Bacchante crowd dancing on the rubble, buildings enmeshed in hugs iron, space used improperly by scaffolding that wobble, shake and plotting against the tranquility of citizens without home, but hanging the keys to hope to return soon to open its doors to life: that's what the show shots "Tota pulchra es Maria" made in L'Aquila in the summer of 2011 with his eyes tired and distracted, after a day of excitement and action in the city devastated.
Errors focus on the crowd, as the keys hanging from the scaffolding, and evoke a sense even tried to cheat when shooting, denouncing something beyond the immediate eye fatigue or hand.
From the joy of the jubilant crowd in the square (Photo 5), in a moment he runs to the memory of the flight in the same streets. The frenzy of the dance sublimates the time of fear, keeping him with the rhythm of a tremor intimate unquenchable.
Instead, install the tinkling of keys hanging waiting to be useful (Photo 2), it generates a creative phenomenon more complex and intriguing evocation of memory, with the same cathartic emotional reversal. A vision of "magic" and beneficial appears superimposed on the regular and effective reality. Thanks mistake of focusing on the photographer, the viewer suspend the regular direct vision of reality and witnessing the appearance of a new configuration surprising to behold with wonder. Disappears naivete, cynicism, the anguish of vision "before" to make room in a glance instant and "smiling" to a new state of things, more interesting, perhaps more edifying, illusory but equally authentic. It 's easier to understand this concept remembering "the good thing is bad and the ugly and beautiful" witches in Shakespeare's MacBeth. And as happens in front of a magic trick or an illusion - of which you are obviously aware of the existence of a trick leads and reduces the magical gesture to the simple normal - you prefer to satisfy the "trick" to save the smile of wonder light that emerges spontaneously and naturally on the face of the beholder and you consciously subdue illusion.
With obvious errors photographer so open up new visions of reality or super-creative and evocative visions. And in this case, to capture the sense latent error and not too far behind the tragedy of L'Aquila for the superficial or dishonest human negligence, the distance is short.
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