Mélancolie | Matteo Cremonesi

Matteo Cremonesi
Mélancolie
Referred to Malinconie Domestiche
Milan
2011 

Melancolie

Sometimes there are moments
Curiously crowded with the unknown, almost mirrors
Left there
to reflect the dust

strange moments, to kill in the dark

suffocating them
softly
so there is no suffering

like a ritual at the brink of dawn
without incense
or swords.

From Malinconia Segreta del Deuteragonista
Nuccio Mula
Agrigento

A revealing light illuminates the shots of Fabio Guadagni, finding its own flesh in the dust, which becomes matter on the same surfaces that speak of everyday life and abandonment. The young Veronese artist’s photography penetrates a multifaceted story in which the personal experience of a particular state of mind results in a sequence of intriguingly intimate, enticing visions.

The story that Fabio’s photographs share with us is of the melancholy dwelling in our homes, arranged in the chiaroscuro playing on objects, perceived in the things that are part of everyone’s lives. Through Fabio’s sensitive, profound gaze, just for a moment they are all the photograph needs, part of the small, fragile kingdom of describing and retaining the perceptive impression of a state of mind that cannot be otherwise described.

Guadagni makes photography an extremely personal catharsis, so that for a moment his eyes and his way are the art; attention and patience turn upon himself to use what is immediately available to him to describe himself

Observing the works of Fabio Guadagni much is understood or perceived of him.

At first sight his world, what he describes, belongs to everyone, the surroundings and objects always present in every home, lights and settings that appear spontaneously, artlessly in every home. For Fabio, however, these everyday presences he has presumably stumbled across become the silent stage on which to act out metaphorically our state of mind, the slowness of our own spirit, our desire for intimacy and shelter.

The alienating relationship that exists between these daily still lifes and the innermost experience that Fabio recounts, turn our gaze to focus on something actually invisible in the images, but affording them a wider reading so we can define their impression or spectrum.

The true protagonist of all Fabio Guadagni’s images is the reflection of an intimate and personal condition that with disarming sincerity the author uses to describe in a different way to what could be imagined, not on his own body or in his own expression, but rather described by and inscribed in what is physically closest and best-known to him: his own home, his own possessions, transformed into a melancholy prison and refuge, in sensations of the mind that condense like spectres and smoke.

Not your run-of-the-mill photographer, Guadagni, strikingly sincere and like any good storyteller, he moves his audience by suggesting images of extraordinary simplicity.

Matteo Cremonesi
Milan, 25 November 2011

 

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