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간만에 보는 폴라로이드 작업. 꽤 많이 솔라끼가 있는 것으로 보아 현상하면서 약간의 조작을 가한 느낌이지만, 굉장히 유효하다. 휼륭한 조작은 리얼리티를 넘어선다.
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Mario Beltrambini was born in Italy in Santarcangelo di Romagna in 1953 and has been a photographer since 1980. His early work was inspired by Surrealism, but today he operates in a conceptual environment, preferring stenopeic (pinhole) photography and Polaroid (55 and 665) materials. In 1989 he was one of the founders of the Cultura e Immagine Photography Club in Savignano sul Rubicone in which he still plays a leading role, being among other things one of the organizers of SavignanoImmagine and the Festival Foto Portfolio in Piazza in Savignano sul Rubicone.
About his most recent exhibition, 밡elle oasi del vuoto?(In the Oases of the Void) Beltrambini says: 밒 believe in places. Not the big ones. The little ones, the unknown ones both abroad and at home. I believe in those places that are not famous or touted and whose only distinguishing feature is that they have nothing, while all around is filled with something. I believe in the strength of these places because nothing happens there anymore and nothing will happen. I believe in the oases of the void.?br> Beltramini has gone in search of intimate and silent places. Places that are not photogenic at the fringe of any sense of centrality, like in the suburbs or along a main road. His photos do not include people, but they are filled with their traces, evidence and signs left along the route by living presences. He involves us in his love for small oases that are unknown and somewhat ghostlike in appearance. The word 뱋asis?immediately brings to mind images of green areas, Caribbean isles or miraculously luxuriant patches in the middle of the desert. But here there is none of this. Beltrambini뭩 oases are built-up places, off the beaten-track with a somewhat dangerous air in some part of an urban conglomeration. In these strange places (for example, pot-holed roads looking out over manholes and debris, concrete stairways that rise into nowhere or interiors of abandoned buildings) located in some unspecified part of the geographical map, he photographs using extreme aperture settings (f180). He does not utilize preconceived schemes and approaches his works with an unfettered soul and mind, ready to act freely using cameras bought in flea markets that are then dismantled, put back together again piece-by-piece, taken possession of and modified. His vision of the world around him, which is also a philosophy of life, is 뱒low? The pinhole뾵hich requires that the subjects be motionless with very long exposure times during which anything can happen and unchanging shooting conditions뾡oes, in fact, imply slowness, relaxation and patience. The same qualities possessed by true fishermen.
Beltrambini뭩 photographs are taken in black-and-white calmly, wisely thought-through and (only apparently) simple. Through him we return to the dawn of photography and manual creativity that has often been sneered at by daring and overpowering new technologies. Here it has its revenge.
All images ?nbsp;Mario Beltrambini.
?nbsp;Editrice Progresso. 2006
All rights reserved.
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