progetto Habitat – 04 – carta gialla, quinte di sabbia – sand dunes

Passo varie fasi preliminari. Still life con carta da pacco, figure ritagliate e elementi naturali. La carta da pacco è un elemento molto stimolante. Mi capita in forma di imballaggio dei animali e libri. Alle feste popolare sotto il piatto, la famosa carta gialla. Mi piace a tal punto che mi regalano una pila di trenta fogli. 

Ornitoryntus Fiorentinus

Come fondale queste carte hanno un aspetto caldo, ricordano la sabbia del deserto e la spiaggia. Quando la mattina arriva in studio la luce del sole diventa ancora più calda. Spesso noto con la coda del occhio un dettaglio illuminato e la sua ombra, un immagine laterale che fa nascere un idea.

Mi incanto a fotografare le pieghe di carta, tutte uniche e irripetibili. Ci vedo paesaggi che possono ospitare le mie scene.

Le quinte con la carta gialla mi permettono di essere più libera nella composizione, più regista del pezzo teatrale. Finalmente posso ridurre, aspiro al minimo indispensabile. Al momento sento la necessità di composizioni minimaliste.

White stork – Ciconia ciconia

I advance through various preliminary stages. Still life with wrapping paper, cut out figures and natural elements. The wrapping paper is a very exciting material. It arrives in the form of packaging of the animals and books. In the restaurant I happen to find it under my plate, the famous Italian yellow paper table cloth. I like it so much that the host gives me a stack of thirty sheets.

Used as backdrops these papers have a warm feeling, reminiscent of the desert sand and the beach. When morning sunlight comes in the studio it is getting even warmer. Often it is a quick side glance, a lighted detail and its shadow, a kind of half seen lateral view that gives birth to an idea.

Entranced I photograph the folds of paper, all unique and unrepeatable. I discover landscapes that could accommodate my scenes.

The sceneries with the yellow paper allow me to be more free in the composition, more in charge of the theater play. Finally I can reduce, I aspire to cut down to a minimum. At the moment I feel the need of a minimalist composition.

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• Place and date of birth: Monheim, Deutschland, March 18th, 1958.
• Citizenship: German.
• 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.
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.

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