DOMENICA
28 OTTOBRE 2012 IL MIVHS APRE LA SUA SECONDA STAGIONE -012.013-
CON LA
PERSONALE DI PAULA SUNDAY -premio celeste 2010, prima classificata con il video
.madre. premio nazionale delle arti 2010 , prima classificata con la fotografia
.fabbrica. - . livka vozla . www.mivhs.it .
Ad alto impatto estetico, la fotografia di Paula
Sunday chiede estensione, più scene, la possibilità di una specie di narrazione
ritmata e cristallina. I migliori fotografi oggi lavorano su progetti, Paula
non fa eccezione. Non che una foto conduca a un’altra, ma insomma è evidente
quanto un suo lavoro (prendete una qualsiasi delle sue serie, che so: Spoon
River Antology) insista sulla tua retina variando colpi visivi e angolazioni
emotive, svolgendo un’azione calibratissima sullo sguardo e sulla psiche per la
quale un solo scatto non basterebbe. Anche per questo il lavoro di Paula è di
una chiarezza esemplare, quasi una dimostrazione di lucidità, di impaginazione
impeccabile, di messa in scena perfetta dove vero e falso, realtà e finzione,
raziocinio formale e visionarietà si confondono, e si esaltano reciprocamente.
L’immagine appare sempre catturata negli artifici di una stilizzazione
implacabile. Con una costellazione di riferimento che ti fa rivedere le luci e
le ombre della migliore fotografia novecentesca (l’attimo fuggente di Henri
Cartier Bresson, gli spaesamenti di Herbert List...) moltiplicando gli effetti
ottici e ornamentali dei bianchi e dei neri in una volontà di gioco senza fine,
com’è in Me Captured in Optical Fantasies.
Paula Sunday osserva, combina, ironizza (ora state guardando That’s all Folks),
si fa lei stessa protagonista divertita/svagata dei suoi microplot visivi,
mescola segnali multipli in un habitat di domesticità meticolosamente costruita
e inquieta, e poi tutto smalta in una materia e in un colore
vitreo-plastificati, innaturalissimi. Ne risulta un sofisticato iperrealismo
con biglietto non di sola andata ma anche di ritorno: negli anni Settanta la fotografia
aveva contagiato la pittura, ora con Paula quella pittura (iperrealista)
contagia la fotografia. Vi trovate nel magnifico mondo di Paula, che viaggia
veloce su quella linea C del teatro immobile che connette Caravaggio a
Crewdson.
Marco
Di Capua
With an high aesthetic impact, Paula Sunday's photography needs extension, more scenes, the possibility of a kind of rhytmical and crystalline narration. Today the best photographers are working on projects, Paula is not an exception. Not that a photo doesn't lead to another but is clear how every her work (like any of her series, Spoon River Antology for example) insists on your retina changing visual hits and emotive angle shot, carryng out a calibrated action on sight and on psyche, for which a single shot is not enough.
For this reason too, Paula Sunday's work is made of examplary clarity, almost a demonstration of lucidity, with an impeccable layout, a perfect stage where true and false, reality and fiction, formal rationality and visionary are confused and enhance each other.
The Image always appears like captured in the artifices of an implacable stylization. With a reference constellation that shows you lights and shadows of best 20th century photographers (The Decisive Moment by Henri Cartier Bresson, Herbert List's bewilderment...) multiplying optical and ornamental effects of blacks and whites in an endless spirit of game, like in Me Captured in Optical Fantasies.
Paula Sunday observes, combines, jokes (Now you're watching That's all Folks!), she makes herself main character amused/detached by her visual microplot, mixes multiples signals in an habitat made of domesticity meticulously built and troubled, and then all change in a matter and in a color glazed-plastic coated, unnatural.
The result is a sophisticated hyper-realism not with a one-way ticket: in 70's photography infected painting, today Paula Sunday with that painting (hyper-realistic) infects photography. Welcome to wonderful Paula's World, who travels fast on that C line of unmoving theatre , which connects Caravaggio to Crewdson.
Marco Di Capua
With an high aesthetic impact, Paula Sunday's photography needs extension, more scenes, the possibility of a kind of rhytmical and crystalline narration. Today the best photographers are working on projects, Paula is not an exception. Not that a photo doesn't lead to another but is clear how every her work (like any of her series, Spoon River Antology for example) insists on your retina changing visual hits and emotive angle shot, carryng out a calibrated action on sight and on psyche, for which a single shot is not enough.
For this reason too, Paula Sunday's work is made of examplary clarity, almost a demonstration of lucidity, with an impeccable layout, a perfect stage where true and false, reality and fiction, formal rationality and visionary are confused and enhance each other.
The Image always appears like captured in the artifices of an implacable stylization. With a reference constellation that shows you lights and shadows of best 20th century photographers (The Decisive Moment by Henri Cartier Bresson, Herbert List's bewilderment...) multiplying optical and ornamental effects of blacks and whites in an endless spirit of game, like in Me Captured in Optical Fantasies.
Paula Sunday observes, combines, jokes (Now you're watching That's all Folks!), she makes herself main character amused/detached by her visual microplot, mixes multiples signals in an habitat made of domesticity meticulously built and troubled, and then all change in a matter and in a color glazed-plastic coated, unnatural.
The result is a sophisticated hyper-realism not with a one-way ticket: in 70's photography infected painting, today Paula Sunday with that painting (hyper-realistic) infects photography. Welcome to wonderful Paula's World, who travels fast on that C line of unmoving theatre , which connects Caravaggio to Crewdson.
Marco Di Capua
Segnala:
Amalia Di Lanno
