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Luigi Ghirri (1943 – 1992) was an Italian photographer who, beginning in the 1970s, produced pioneering color photographs of landscape and architecture within the milieu of conceptual art. Ghirri’s photographs are presented with a deadpan, often ironic wit and always consider the tenuous balance between people and their surroundings. He worked in series, photographing parks, beaches, and urban scenes of his native Italy, producing modestly sized, meticulously made prints. His use of color has been lauded for its capacity to express “both prescience and nostalgia” in its distinct encapsulation of the first wave of color photography (artist review by Matthew Marks Gallery – the official representative of the Estate of Luigi Ghirri)
“The daily encounter with reality, the fictions, the surrogates, the ambiguous, poetic or alienating aspects, all seem to preclude any way out of the labyrinth, the walls of which are ever more illusory… to the point at which we might merge with them… The meaning that I am trying to render through my work is a verification of how it is still possible to desire and face a path of knowledge, to be able finally to distinguish the precise identity of man, things, life, from the image of man, things, and life.’”
Tom Jacobi‘s project ‘Grey Matter(s)‘ – “Grey is mystical. We humans love the sun and are always thought to have yearned for light. Yet prayers are mostly said in the dark. We may well strive for light, but are we possibly, in fact, children of the twilight, a colorless world in which everything is gray?”
The project is available as photo book with more than seventy striking photographs of some of the most spectacular wonders of the natural world, which took him over two years and travelling to six continents.
“This work stems from my fascination with the nature of our relationships to the landscape, the sublime, time, and impermanence. Entitled Littoral Drift, a geologic term describing the action of wind-driven waves transporting sand and gravel, the series consists of camera-less cyanotypes made in collaboration with the landscape and the ocean, at the edges of both. The elements that I employ in the process—waves, rain, wind, and sediment—leave physical inscriptions through direct contact with photographic materials.”