http://www.marcomaroccolo.com/work-jasper daily 1.0 2024-11-19 https://images.squarespace-cdn.com/content/v1/52d66ed2e4b0cca8969710a7/1404477363132-EZ31LZRMS8E3Q7KQZDGH/01_Lotus_and_Pyramid_DSC5433.jpg Work Lotus & Pyramid The Sign In the past, travel books were accompanied by images long before the invention of photography. These works—illustrated with a more fantastic than accurate view—enriched the imagination of readers who dreamed of Egypt as a mysterious land full of ancient monuments and populated by strange creatures. In the coming years, towards the mid-nineteenth century, the pictorial imagination of the East was replaced by the more scientific perspective of designers, architects, and scribes whose masterpieces appear in many works, such as the beautiful publications in the Description d’Égypte of the Napoleonic expedition or the works of Lepsius and Rosellini. In the service of study, art made a significant contribution to the newly born science of Egyptology. However, some artists continued to capture the exotic nature of Egypt, passing it on to their audience. David Roberts was one of the most influential artists of that period, spending two and a half months in Egypt in 1838, drawing and painting the most significant monuments and scenes of local life. The Belgian Louis Hague, an expert lithographer, prepared Roberts’ works for publication over the next eight years. His colourful and often romanticised works, accompanied by texts by famous writers of the time, such as Binon, Birch, and Brockedon, have always been prevalent among collectors. Other renowned artists visited Egypt, bringing back beautiful images: William Henry Bartlett, David Wilkie, Frederick Catherwood, Edward Lear, Owen Jones, and with Orientalism—through representatives such as Jean-Léon Gérôme, Eugène Delacroix, and Étienne Dinet—the French transformed the representation of Egypt into a distinct painting movement. The Invention In 1839, one of the earliest forms of photographic processes was invented, gaining great resonance in France as elsewhere in Europe: the daguerreotype. This method allowed for the depiction of images objectively without relying on the artist’s creative work. Unfortunately, this technique created a single image that could not be duplicated, which is why the shots of the first photographers—to be depicted in books—were reproduced in the form of engravings. Between 1841 and 1843, the French optician Noël Paymal Lerebours published Excursions Daguerriennes: Vues et Monuments les Plus Remarquables du Globe, an album in two volumes illustrated with aquatints made using daguerreotypes. The images were taken in various parts of the world by individuals remembered as the first photographers in history: Frederic Goupil-Fesquet, his uncle Horace Vernet, Hector Horeau, and Joly de Lotebinière. In travel books, drawings—often made by the travellers themselves—began to be replaced by engravings derived from images obtained through the camera obscura. Any loss of romantic mood—with the undoubted gain in accuracy and objectivity—was compensated by the engraver, who often added people to animate the view since the long exposure times did not allow for capturing movement. The Journey Pictures in books were accompanied by engravings taken from photographs to replace drawings. My interest in travel literature began with the discovery of some prints by David Roberts. His romantic vision of Egypt fascinated me so much that it led me to investigate this captivating subject. Collecting travel books was my choice to learn the stories of many travellers, some of whom spent a few months in Egypt while others stayed there for the rest of their lives. Among these adventurers were consuls, wealthy aristocrats, and scholars—various people, including the dishonest and the generous, the snobbish and the simple. I encountered the generosity and soul of Belzoni, the curiosity and respect of Burckhardt, the intelligence of Drovetti, and the dangerous devotion of Finati. Although the reading experience took me beyond the images accompanying the text—some books were completely short of images—these illustrations helped me dream about the words that filled the pages. My love of books fostered a passion for the men and women who knew how to live and chose to recount their experiences. I envied their adventures and cherished the written word; the illustrations helped me imagine those words, creating a world of pages where I dreamed of a country in another era. It isn’t easy to do justice to the readings that have accompanied me for years and continue to move me. With these images—perhaps also a palimpsest, as Lucie Duff-Gordon wrote—I hope to trace a long path of memory without losing the sense of travel. I replaced colours with the dark shades of many shadows caressing the travellers’ notebooks, illuminated by the lamps inside their tents. Colour represents life, reality, and journey. Black and white allowed me to evoke and unify sometimes different figures. The images were only a frame for writing, but isn’t the picture itself a narration for images? It makes sense to collect these photographs as beloved evidence of personal discovery, aiming to spark the curiosity of others to unveil the memory of a bygone era travelled by people who knew how to give meaning to their journeys and lives. I want to conclude my impressions with a text from a traveller, the Italian Carlo Vidua, who, in a letter from 1810, described what travelling meant to him. Reading these words, I think it is clear what his motivation was—like many others—to dedicate his life. Carlo Vidua's Letter “You know that there are so many ways of travelling, as a savant, as a man of the world, as a lover of literature, as a grand gentleman, as a ladies’ man, as a meticulous researcher of every notable thing, as an artist, as a draftsman, as a messenger, as a financier or merchant, etc., etc. As I am not and do not want to be anything in this world, and as I have told you many times, I would not want to take the trouble of being mediocre in something, I have adopted a system of travelling completely different from all of these people, at least so it seems to me. My principal objective is to see the important things of whatever kind and, above all, to get to know the way of thinking of various classes of people. When I go to a country, I try to get to know two classes of people: the nobility and some men of letters. The nobility allows me to see the world and its customs and to understand other ways of thinking because, generally speaking, a man of such rank who has wits, many relationships, and is in touch with many, understands their ways of thinking. To the contrary, a shopkeeper, for example, knows well only his shop and that which is beneath him and so forth. The men of letters could help me see, profitably, that which is most beautiful and to benefit from their reason, when they have it, which does not happen so often.” This project was featured in the American magazone LensWork. https://images.squarespace-cdn.com/content/v1/52d66ed2e4b0cca8969710a7/ea2ade69-5715-4d18-b146-d305a85a2d26/Endless_Labyrinth_L9999807.jpg Work Endless Labyrinth A project that explores the intricate and often perplexing pathways of human existence. Drawing inspiration from Jorge Luis Borges' evocative poem "The Labyrinth" the series captures the essence of wandering through life’s repetitive and confining structures. Each photograph portrays severe galleries and secretive corridors, their curves and cracks symbolizing the relentless passage of time and the wear of daily struggles. The interplay of light and shadow highlights the subtle signs of fear and introspection that emerge within the pale dust of forgotten spaces. Through stark contrasts and meticulous composition, Endless Labyrinth invites viewers to reflect on their own journeys within the maze of destiny, echoing Borges' exploration of fate and the human condition. https://images.squarespace-cdn.com/content/v1/52d66ed2e4b0cca8969710a7/66edad21-00b4-4920-921b-cead8848fcb0/Kirchen_in_Su%CC%88dtirol_L1000611.jpg Work Kirchen in Südtirol What drives a person to enter a church? Is it the search for spirituality, a moment of inner reflection, shelter from the weather, curiosity, or faith? Whatever the reason, once inside, a person is surrounded by art, whether in a grand cathedral or a quaint chapel. Visitors experience visual and spiritual emotions emanating from the intricate architecture, vibrant paintings, and delicate statues, all bathed in the serene light of a mystical and captivating environment that delights even those who do not share the faith. The “Churches of South Tyrol” project originates from my travels to stunning locales where enduring religious traditions have fostered the creation of numerous small worship spaces. These are true treasures of local sacred culture, housing masterpieces in frescoes, paintings, and polychrome sculptures. Few regions in Central Europe boast such a rich artistic heritage—a confluence of Italian and German artists who have mutually enriched each other, following the major artistic currents of the continent to produce works of extraordinary beauty. South Tyrolean art is distinguished by its polyphonic and multifaceted tradition, reflected in the diverse forms it takes. Visitors to these sacred spaces—meticulously furnished and adorned down to the smallest detail—can appreciate this well-preserved heritage. The frescoes, statues, and paintings serve as mediums through which humanity seeks to unite the heavens and the earth, bridging the material and spiritual worlds. These churches and chapels are sometimes nestled in secluded areas surrounded by pristine nature and, at other times, situated along prominent tourist routes. Regardless of location, they emerge amidst breathtaking landscapes where art and environment harmonize uniquely. Often, great treasures are concealed within these small establishments—hidden gems that invite exploration and discovery. The passion for art draws visitors back repeatedly, as a single glance is enough to inspire the next journey. In these sacred spaces, where the divine intertwines with well-being, one can achieve inner peace and balance, finding comfort, renewed strength, and infinite tranquillity. This project is born from my exploration of art, beauty, and peace, inspired by countless experiences in this beautiful and welcoming region. The vibrant colours of South Tyrol challenged my preference for black-and-white photography. Accustomed to the depth of grayscale, I had to embrace the purity of colour—better suited to conveying the artistic message—prompting me to evolve my established style. The colours, at times subtle and at other times brilliant, intensely stimulated my creative vision and revealed new potential. Through my photographs, I strive to capture the peace and beauty that resonate with the souls of those who visit these sacred refuges of South Tyrol. Peace and beauty: it’s impossible not to feel this connection, as art, even in its simplest forms, elevates us all with its inherent beauty. https://images.squarespace-cdn.com/content/v1/52d66ed2e4b0cca8969710a7/d576d63c-1e1b-4378-aa08-57e350e987b0/Venice-upside-down-forest_01-cover.jpg Work https://images.squarespace-cdn.com/content/v1/52d66ed2e4b0cca8969710a7/826ab79a-77ed-4f8b-b60a-f0347a9f3532/07.+Lie+detector.jpg Work https://images.squarespace-cdn.com/content/v1/52d66ed2e4b0cca8969710a7/fcda9500-77b8-49ff-afa4-281f4fe98907/2011_10_Londra_L1002429-cover.jpg Work https://images.squarespace-cdn.com/content/v1/52d66ed2e4b0cca8969710a7/8d7c7e62-ede4-42db-ae65-c9bac4916214/2014_11_26_Quinto_DSC5469.jpg Work Le Septième Art is an ongoing project dedicated to the cinema. The expressive language that I chose is that of color and movement; so I decided to shoot scenes of some of my favorite films with long exposures and multiple shots, all taken in camera. The post-production have been minimized, and never alter the results of the original shots. https://images.squarespace-cdn.com/content/v1/52d66ed2e4b0cca8969710a7/1404475424691-NIFEM4MH2B8G7927DRLB/2009_07_25_Staglieno_DSC1621.jpg Work From Earth, From Heaven Upon my first steps into Staglieno Cemetery, I was captivated by the extraordinary statues adorning each tomb. Walking through sunlit and shadowed galleries, I felt both awe and reverence. Amidst these beautiful and haunting figures, the marble beneath my feet was the only sound. It became clear that I was not just observing memorial sculptures but standing over the final resting places of those long gone. Remembering my camera, I began photographing the statues—faces etched with expressions of pain, hope, and peace. What started as a reluctant endeavour transformed into a heartfelt pursuit, capturing the profound beauty and stories behind each monument. Encounters with dedicated caretakers deepened my appreciation, revealing personal connections and histories intertwined with the cemetery's grandeur. Over time, I amassed hundreds of images, focusing on the cemetery's monumental chapels and niches, ultimately crafting a portfolio that reflects its vastness and the timeless artistry it preserves. This project expanded my photographic collection and illuminated the passion that drives us to honour and remember through art, bridging the past with the present. This photo project was featured in the American magazine LensWork. http://www.marcomaroccolo.com/about-avenue daily 0.75 2024-11-19 https://images.squarespace-cdn.com/content/v1/52d66ed2e4b0cca8969710a7/9c0ccbe5-bbab-43c3-b6a9-67dda9c790d8/mrcmrc.jpg About http://www.marcomaroccolo.com/contact daily 0.75 2024-11-19