T_O (installation at MIA Fair)
Digital Photography, Human figure, Mixed technique, 110x95cm
The T_O project includes two large diptychs and an installation of nine smaller images. The photographs were shot on medium format negatives and then digitally post-produced and printed.
The images all portray different couples who are bound by a strong relation, a blood bond such as that between mother and child, siblings, and lovers. The duality that comes out of it creates a movement, while the exposed body – the naked body as a strong form of communication – gives the dialog between the two subjects and the viewer an even bigger strength.
Indeed the game here – suggested by the project's title – with the numbers 2 and 3 refers to the shared relation between the subjects and the third pole, the spectator: the intimate relationship within the couple expands to include the photographer during the performative time of the shooting, and the viewer once the work is complete.
The naked body in portraiture has always been a strong indicator of its own time, reflecting its moral standards and the way the human body is conceived at a certain moment in history. For many centuries religious and mythological figures in particular – for instance, Adam and Eve, and Venus and Cupid – were used in painting as a way to represent the naked body, then a controversial, prohibited subject.
This work proposes an involved representation of the body, and it is therefore very far from the aesthetics and purposes of advertisement, which today are very invasive. This welcoming attitude is complicated by moral and representation codes, that emerge anyways. The background itself takes part in this duality, and despite its barren and neutral character, it succeeds nevertheless in becoming a place, surrounding the bodies like a new type of natural landscape.
The images all portray different couples who are bound by a strong relation, a blood bond such as that between mother and child, siblings, and lovers. The duality that comes out of it creates a movement, while the exposed body – the naked body as a strong form of communication – gives the dialog between the two subjects and the viewer an even bigger strength.
Indeed the game here – suggested by the project's title – with the numbers 2 and 3 refers to the shared relation between the subjects and the third pole, the spectator: the intimate relationship within the couple expands to include the photographer during the performative time of the shooting, and the viewer once the work is complete.
The naked body in portraiture has always been a strong indicator of its own time, reflecting its moral standards and the way the human body is conceived at a certain moment in history. For many centuries religious and mythological figures in particular – for instance, Adam and Eve, and Venus and Cupid – were used in painting as a way to represent the naked body, then a controversial, prohibited subject.
This work proposes an involved representation of the body, and it is therefore very far from the aesthetics and purposes of advertisement, which today are very invasive. This welcoming attitude is complicated by moral and representation codes, that emerge anyways. The background itself takes part in this duality, and despite its barren and neutral character, it succeeds nevertheless in becoming a place, surrounding the bodies like a new type of natural landscape.
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