MAR­TI­RA­DON­NA, OM­BRE D’AU­TO­RE

SHA­DOW AR­TI­STRY

Abitare - - ORIZZONTI -

AR­CHI­TET­TO DI FOR­MA­ZIO­NE e fo­to­gra­fo di ar­chi­tet­tu­ra di pro­fes­sio­ne, An­drea Mar­ti­ra­don­na ha pre­sen­ta­to il suo la­vo­ro d’ar­ti­sta in oc­ca­sio­ne di Mi­la­no Pho­to Week. La mo­stra Na

tu­re d’Om­bra era una rac­col­ta di im­ma­gi­ni di fio­ri e in­set­ti in bian­co e ne­ro stam­pa­te su car­ta di ri­so. Si trat­ta di un me­to­do mes­so a pun­to in an­ni di spe­ri­men­ta­zio­ni usan­do un di­spo­si­ti­vo fo­to­gra­fi­co pe­cu­lia­re, lo scan­ner. Mar­ti­ra­don­na az­ze­ra il co­lo­re e li­mi­ta la lu­ce per met­te­re in evi­den­za gli in­fi­ni­ti to­ni d’om­bra. (LB) AN AR­CHI­TECT BY TRAI­NING and an ar­chi­tec­tu­re pho­to­gra­pher by pro­fes­sion, An­drea Mar­ti­ra­don­na pre­sen­ted his work as an ar­ti­st. On the oc­ca­sion of Mi­la­no Pho­to Week, the ex­hi­bi­tion

Na­tu­re d’Om­bra was a col­lec­tion of ima­ges of in­sec­ts, all in black and whi­te and prin­ted on ri­ce pa­per. The ima­ges we­re crea­ted using a me­thod de­vi­sed over se­ve­ral years in­vol­ving ex­pe­ri­men­ta­tion wi­th the scan­ner. Mar­ti­ra­don­na li­mi­ts the amount of li­gh, to ma­ke the ma­ny dif­fe­rent mo­no­chro­ma­tic to­nes of sha­dow stand out.

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