Progetto Habitat – 02 – da dove nasce? Where does the story begin?

Come è cominciato? Alcuni anni fa. Non riesco a resistere, sono incuriosita dalla attrazione che sprigiona un asino in un negozio. Sono entrata a comprare un regalo per la nipotina di 3 anni. Non resisto allo charme di un okapi. Lo acquisto per me. Me lo tengo in studio, ogni tanto lo metto in tasca quando vado fuori e scatto delle foto, alla maniera di CRM – Collage Ready Made. Un concetto che mi è caro, il principio del collage usato insieme con lo scatto fotografico istantaneo. Rimango colpita dal risultato imprevedibile e meraviglioso che ottengo quando piazzo la figurina davanti a varie scenografie. Nasce una serie dove tengo l’okapi in mano. Mi ricorda una serie di immagini con i “tesori della spiaggia” Strandgut. Objet trouvé.


Le uso per combinare in una foto un pensiero latente. Fotografando lo lego all’ oggetto trovato, spesso tenendolo in mano, davanti ad una scena, uno sfondo – in questo caso il mare – che  lo mette in discussione o lo rafforza. Un cellulare che scatta foto di buona qualità è un attrezzo indispensabile, perché lo porto sempre con me come una penna e racconto anche i contesti.

 

How did it start? Some years ago. I’m captured by the magnetic attraction of a donkey in a store window. Going inside to buy a gift for my niece, a  3 years old,  I cannot resist the charm of an okapi. I purchase it for myself. I keep it in the studio, sometimes I put it in my pocket when I go out and snap pictures in the manner of CRM – Collage Ready Made. A concept that is dear to me, the principle of collage used in conjunction with the instant photo shooting. I am struck by the unexpected and wonderful results I get when I place the figure in front of various backgrounds. A series is born where I keep the okapi in hand. It reminds me of a body of work with the “treasures of the beach” Strandgut. Objet trouvé.

I use them to translate a latent thought into a picture. Photographing I connect the half known thought to the found object, often holding it in my hand, in front of a scenery, a background – in this case the sea – which asks questions or suggests answers. A cell phone that takes good quality photos is an ideal tool, because I can always carry it in my pocket like a pencil. This way I show the context, too.

Published by

sabinekorth

Curriculum • Place and date of birth: Monheim, Deutschland, March 18th, 1958. • Citizenship: German. EDUCATION • University of Bielefeld, Photo Design, 1986 • Graduation thesis: Youths' Free Time and Night Life in Italy. • Languages: English and Italian fluent • Member of DGPH Deutsche Gesellschaft fuer Photographie and DFA Deutsche Fotografische Akademie. WORK EXPERIENCE 1986 Moved to Florence, Italy. 1987 -1994 Manager of "Print Service" a professional black/white printing and developing laboratory. 1994–present Free-lance Photographer .Offers workshops in photography of reportage, portrait, black and white printing and fotomontage. .Attends regular annual lectures at University Dortmund, Germany - Dept. of Fine Arts. Professore di Fotografia Classica, Digitale e Fotografia Sperimentale Tecniche di Fotografia classica, sperimentale, alternativa, stampe antiche, pinhole, composizione, reportage, foto di matrimonio, ritratto, montage e collage, camera oscura analogica e digitale. Archiviazione,produzione libri fotografici, videopresentazioni. Guida didattica e workshop per studenti in combinazione con gite fotografiche e fotoanimazioni in scuole e asili. Docente di „fotocollage terapeutico“: Collaborazione come docente e tecnico fotografico con il Gruppo Fotografico “ScattOcchio”del Laboratorio di ArteTerapia Multimediale, Centro di Salute Mentale ASL 2 del Dott. Carmine Parrella. Realizzazione di laboratori creativi per bambini e adulti. Photography Instructor .Lorenzo De Medici Consortium for U.S. programs in Florence. .SACI – Studi Arts Center International Florence Courses through Studio Marangoni in Florence: .Sarah Lawrence College in Florence .New York University .School of Visual Arts in Florence Personal Experience 1991 – 2016 Traveled in Egypt, Mexico, Venezuela, Cuba, Ivory Coast, Ghana, Zimbabwe, New York, India, Morocco, London and Istanbul doing reportage black and white and color digital. Working Philosophy Today more than ever, expressive language communicates the “Zeitgeist” of our times. InFrom South to North, I bring together different cultural forms in order to stimulate reflection on this subject. Instead of employing a classical documentary method, I use a more creative approach that appeals directly to the viewer’s imagination. Combining photographs allows me to interweave and concentrate images. These are fictions that, like poetry, rely on metaphor and simile to achieve their effects. References, allusions, and analogies create a surreal atmosphere that leads the viewer to another reality—one that may be read only beyond the confines of the photo frame. I feel that a body of work is strongest and most honest when it challenges both the viewer and its creator to consider equally new perspectives and ideas. Recently I have begun to explore the possibilities of the “digital darkroom.” To date, most work produced digitally has been commercial. Only recently has digitally-produced photography emerged as an art form. I am fascinated by the computer’s ability to synthesize—to weave disparate materials and into a single continuum. This enables the artist to explore in fresh ways both surrealist and post-modern perspectives. Although my working methods have radically altered, my interests remain the same. The content of my previous work has flowed naturally onto the screen and into the images before you. I enjoy teaching and sharing with students my experiences as a photographer. Whether instructing students in traditional darkroom approaches to developing black-and-white photographs or in new digital approaches to developing color photographs, teaching is for me like a never-ending cycle of giving and taking. When working with students, I often encounter unexpected points of view that challenge me to rethink the ways I approach the students’ work as well as my own.

Leave a Reply

Your email address will not be published. Required fields are marked *