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C-print, printed in 2010 on dibond
cm 149,5 x 100 | 58.9 x 39.4 in.
Signed in black marker on the verso
Well capable as in his reportages of representing the world as it appears, Pino Settanni had been too influenced by his knowledge of avant-garde works not to create for himself a personal creative space within which he sublimates reality. Sometimes he works in a way that we might call more traditional, as in the reflection of architectural details in a puddle elaborated with graphic interventions although it is the transformations enabled by digital that open new horizons for him. The “Beggar Widow” that he photographed in Kabul during one of his reportages is isolated from its historical context and transformed into a vertigo of shapes and colors where the long robe of an original burka becomes a snake that winds its chromatics in space.
cm 149,5 x 100 | 58.9 x 39.4 in.
Signed in black marker on the verso
Exhibition
Pino Settanni, Il Vento, Il Velo, il Volto, Lattuada Studio, Milan, 2010
Pino Settanni (Grottaglie, Taranto 1949 - Rome 2010) left his job at Italsider in Taranto to follow his passion for photography in Rome. There he collaborated with several newspapers and frequented the avant-garde world that gravitated around some galleries such as that of Monique Gregory, his future wife. He thus expands his vision by creating serial projects such as portraits of personalities in culture and art and interpretations of Tarot cards, zodiac signs, and the seven deadly sins. He continues his reportages in the Balkans and Afghanistan commissioned by the Italian Army in the late 1990s to create digitally processed images. His archive is held by the Istituto Luce. Well capable as in his reportages of representing the world as it appears, Pino Settanni had been too influenced by his knowledge of avant-garde works not to create for himself a personal creative space within which he sublimates reality. Sometimes he works in a way that we might call more traditional, as in the reflection of architectural details in a puddle elaborated with graphic interventions although it is the transformations enabled by digital that open new horizons for him. The “Beggar Widow” that he photographed in Kabul during one of his reportages is isolated from its historical context and transformed into a vertigo of shapes and colors where the long robe of an original burka becomes a snake that winds its chromatics in space.
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