wandering angles of seeing

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“WANDERING” GATHERS AND CONVEYS THE WAY OF WALKING THROUGH IN APPROACHING TO PHOTOGRAPHY WHICH IS INTIMATELY INVOLVED WITH PEOPLE’S LIVES, AND IS CLEARLY EXPRESSING A SPIRITUAL DIMENSION. JUST ONE STEP BEYOND EVERYDAY LIFE; ... IT SOUNDS A BIT LIKE CARTOON CHARACTER PERFORMING IN A MOVIE TOGETHER WITH REAL ACTORS. I REALIZE THAT MANY WORTHWHILE SUBJECTS ARE EVEN IN MY IMMEDIATE VICINITY.

 
It’s to me the never boring travel in the life. I find out in this journey human being is various in cultures but basically the same in its nature. I like to propose topical issues, bearer of classic timeless significance, catching the epic in everyday life. Great to figure out that usual things usually change its name to look something else, those ones unusual don’t have to; they raise eyebrows without needing to be labeled. That’s to say in order to amuse, in a turnaround, having fun. I’d like to do that revealing the insignificant rather than criticize fundamentals. That’s to me contemporary and looking forward. I do that in a narrative tone having more of pictorial echo than reportage. Any ethics matches with an aesthetics, any aesthetics deals with sensitivity, any perception of life finds its own means of expression. I choose to look at it this way:
 
 

DO IT WITH MIRRORS: THERE IS NO SUCH THING AS A REPLICA OF REALITY

do it with mirrors: there is no such thing as a replica of reality


 
 

T

hanks to mirrors we started centuries ago to consider reality from different viewpoints. A convex layer deals with portraiture as like as the flat one with linear perspective. The first model shew us how to compress a large space into a small frame, the second one how to represent a three-dimensional reality on a two-dimensional flat surface. Both kinds of them give us a representation of reality, rather than merely making a copy of it; ... if we’re going to see through. Both Francesco Mazzola in his painting “Self Portrait in a Convex Mirror” and Pulitzer Prize-winning John Ashbery in his book, based their poetics upon those principles. Such as figures marked by defocusing on blur surfaces, and smooth outlines for low contrast figures; set to render a faded frame in a sort of global fusion.

 
 
 

by means of translucency: from real to the otherworld of imagination

That is to say, how to open wide the doors of a room made of interesting things. Mirrors as a doubled reflection, reflected subjects’ one and that one viewers’, always give us chances to walk on through the borderline between reality and imaginative world. What we perceive is something apart from what it is, very probably this is the reason why real and true are far from synonyms. Perhaps it is no accident, social and business interests aside, an ancient Arts & Crafts association got together artists and craftsmen coming from a peculiar production area. St Lucas guild throve over a period of more than three centuries especially in the main Low Countries cities, and included among its ranks glass-cutters, mirror-makers, painters. Been over this, the mirror had of course utilitarian function particularly in portraiture applications, and even its placement right in the painting as narrative device, expressive gimmick. I’m used to thinking that there is no such thing as a replica of reality, but rather various possible interpretations of it.