Estimate
€ 500 - 800
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€ 1.548
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Information
Vintage gelatin silver print
cm 24 x 30,3 (cm 19 x 27,5 picture) | 9.4 x 11.9 in. (7.5 x 10.8 in. picture)
Signed and dated in pencil with photographer's credit stamp on the verso
Framed
Antonio Biasucci (Dragoni, Caserta 1961) has been practicing since the beginning personal research on the themes of Southern culture, its rituals and environments. The collaboration begun in 1984 with the Vesuvian Observatory and since 1987 with Antonio Neiwiller's theater enriched his vision, which broadened, in more recent years, to a journey within the primary elements of existence. After the Kodak Prize in Arles in 1992 that made him known to the public, he has received awards, published books, produced photographic exhibitions and participated in cultural initiatives of a social nature.
One of the most obvious characteristics of Antonio Biasiucci's style is the continuous search for original framing, each time chosen to suit the project he is making. Thus, in Magma he approached dark matter to emphasize its archetypal plasticity while in Vapori as in Impasto he sublimates the gestures of ancient rituals. When, as in the two images of Naples, taken at the beginning of his career he has to move within the boundaries of reportage, he chooses to bypass them by using decisive cuts that possess a theatrical breath: here emerges the ability to make the human figure converse with the landscape by playing determinedly on different levels. The boys seem to invite the observer to enter the scene, they stand aside to let the gaze drift away from them to be enchanted by the distant lines where the sea, the mountain, the sky, the clouds fill that great emptiness.
cm 24 x 30,3 (cm 19 x 27,5 picture) | 9.4 x 11.9 in. (7.5 x 10.8 in. picture)
Signed and dated in pencil with photographer's credit stamp on the verso
Framed
Antonio Biasucci (Dragoni, Caserta 1961) has been practicing since the beginning personal research on the themes of Southern culture, its rituals and environments. The collaboration begun in 1984 with the Vesuvian Observatory and since 1987 with Antonio Neiwiller's theater enriched his vision, which broadened, in more recent years, to a journey within the primary elements of existence. After the Kodak Prize in Arles in 1992 that made him known to the public, he has received awards, published books, produced photographic exhibitions and participated in cultural initiatives of a social nature.
One of the most obvious characteristics of Antonio Biasiucci's style is the continuous search for original framing, each time chosen to suit the project he is making. Thus, in Magma he approached dark matter to emphasize its archetypal plasticity while in Vapori as in Impasto he sublimates the gestures of ancient rituals. When, as in the two images of Naples, taken at the beginning of his career he has to move within the boundaries of reportage, he chooses to bypass them by using decisive cuts that possess a theatrical breath: here emerges the ability to make the human figure converse with the landscape by playing determinedly on different levels. The boys seem to invite the observer to enter the scene, they stand aside to let the gaze drift away from them to be enchanted by the distant lines where the sea, the mountain, the sky, the clouds fill that great emptiness.
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