progetto Habitat – 05 – bianco e nero – black and white?

A colori, o in Bianco e Nero? So che non vorrei colori troppo reali, sgargianti, digitali. Per 25 anni ho fotografato rigorosamente in bianco e nero, il colore mi sembrava poco interessante, distraente. Invece mi piace aggiungere i miei colori, colorazioni a mano di colori “sbagliati” cieli verdi e prati azzurri, mi rilassa e mi dà gioia nelle mie serate senza Tv. In questi giorni colorare i mandala per riconnettersi con se stesso è la scoperta del secolo, cura davvero l’ anima.

Lupus Lunaticus

In digitale cerco una soluzione. La moda del colore desaturato mi disturba, usare bianco e nero e colore parziale insieme? Ci farò una prova.

Odio il verde – forse un residuo del mio rifiuto di rappresentare la natura cosi come è – non lo so, vedo che nelle composizioni mi disturba. Benvenuti sono il celeste e il color sabbia. Guarderò in cerca di aiuto i miei pittori preferiti – Paul Klee, Max Ernst, Marc Chagall e Henri Matisse.

Color, or black and white? I don’t want bright, digital, too real colors. For 25 years I have photographed strictly in black and white, the color didn’ interest me, it  seemed only distracting. Instead I always liked to add my own personal colors, hand colored patiently adding “wrong” colors: Painting green skies and blue fields, relaxes me and gives me joy in my evenings without TV. These days color the mandala to reconnect with oneself seems to be the discovery of the century , it really cures the soul. Digitally I am seeking for a solution. The fashion of unsaturated color bothers me – if I use black and white and partial color together? I’ll make a test.

I hate green – perhaps a residue of my refusal to represent nature just as it is – I do not know, I notice that in my images it disturbs me. Welcome are light blue and sand color. I will look for help and do research with my favorite artists – Paul Klee, Max Ernst, Marc Chagall and Henri Matisse.

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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.

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