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€ 1.600 - 1.800
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Information
Inkjet print mounted on dibond
cm 50 x 67 | 19.7 x 26.4 in.
Edition 1 of 3 (from an edition of 3 + 2 artist's proofs)
Titled, dated, numbered and signed in black felt-pen with photographer's label and credit stamp on the verso
Framed
Who the character of Ophelia is in our imagination is not so obvious because great literature transfers messages, to those who know her, that are difficult to interpret. Thus, the young woman to whom Shakespeare gifts a cruel fate becomes in Silvia Camporesi's mis en scene a romantic heroine immersed in a Pre-Raphaelite atmosphere that Julia Margaret Cameron would have liked: she occupies the whole scene horizontally and dissolves her dress in the current in which she floats. The delicate, almost washed-out colors, the shot slightly from below, the highlighting of details such as the walls flayed by salt: are we sure we are in Venice as the photographic reproduction of the facade of St. Mark's Cathedral certifies, or what we observe is a model with a fine realism? One can also reflect on the fact that each photograph is not the subject taken but its interpretation, so ...
cm 50 x 67 | 19.7 x 26.4 in.
Edition 1 of 3 (from an edition of 3 + 2 artist's proofs)
Titled, dated, numbered and signed in black felt-pen with photographer's label and credit stamp on the verso
Framed
Work accompanied by Certificate of authenticity released by the photographer
Literature
S. Camporesi, B. Corà (edited by), La Terza Venezia, Trolley Books, 2011
Silvia Camporesi (Forlì 1973) after graduating in philosophy, she approached photography in 2000 making her first works in the so-called staged photography, that is, the one where situations of cinematographic taste are created. She then devoted herself to different projects, some more intimate ones made during the lock down and others of wider range related to the reinterpretation of the Italian landscape in a declared game of dissimulation between the real world and artifactual reality. Winner of numerous awards, she also made her curatorial debut with a solo exhibition of Tina Modotti. Who the character of Ophelia is in our imagination is not so obvious because great literature transfers messages, to those who know her, that are difficult to interpret. Thus, the young woman to whom Shakespeare gifts a cruel fate becomes in Silvia Camporesi's mis en scene a romantic heroine immersed in a Pre-Raphaelite atmosphere that Julia Margaret Cameron would have liked: she occupies the whole scene horizontally and dissolves her dress in the current in which she floats. The delicate, almost washed-out colors, the shot slightly from below, the highlighting of details such as the walls flayed by salt: are we sure we are in Venice as the photographic reproduction of the facade of St. Mark's Cathedral certifies, or what we observe is a model with a fine realism? One can also reflect on the fact that each photograph is not the subject taken but its interpretation, so ...
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