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STILL LIFE
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 STILL LIFE in ine art photography
#254 italian ed. - #126 international ed.

Editor in Chief
Sara Namias

Editorial staf
Rosanna Checchi, Francesco Carlini, Olivia Corsini,
Elisabetta de Strobel, Cristina Franzoni, Karen Copetti

Translation
Pamela Cowdery

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ISSN # 0393-4330
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Registrazione del Tribunale di Milano n.261/1980
Sped. A.P. 45% - ART. 2 Comma 20/b Legge 662/96
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Stampa
Ediprima, Piacenza CONTENTS
4 Vlad Antonov 70 Monica Stevenson
10 Bin Yang 80 Kevin Best
18 Roger Ricco 86 Heinz Baumann
24 Veronica Bailey 94 Abelardo Morell
BOOK
32 Gilles Lorin
100 Anne De Carbuccia
40 Yuval Yairi
108 Millon “COLLECTIONS
46 Paulette Tavormina & PROPOSITIONS”
AUCTION
54 Paloma Rincón
62 Ori Gersht
EXHIBITION

ZOOM | 1
The genre still life—natura morta in Italian
and stilleven in Dutch—more than ever brings
together the art of painting and photography
through composition and lighting. A still life
image creates a special relationship between
the artist and the viewer with the objects
portrayed, objects that are immobile and
seemingly lifeless, yet capable of transmitting
meaning and evoking sensations. The sense
of alienation from the context creates a direct
involvement with the work, the result being
that the distance between the work and the
viewer is truly minimal.
This aspect is much appreciated by collectors
who purchase a work because they love it
(and not necessarily as an investment)—
because of the way it involves them.
Looking back at the evolution of still life in
photography, many identify Still life of a set
table by Nicéphore Niépce DVWKHÀUVWRIWKLV
genre. However, as Emmanuelle Vieillard,
the Responsable de la Communication et
du Mécénat at the Musée Nicéphore Niépce
explains: “This photograph disappeared at
the beginning of the 20th century and there L’Atelier de l’artiste : un daguerréotype de 1837, réalisé par l’inventeur de ce procédé photographique, Louis Jacques
is no proof that it is a work by Niépce. And, Mandé Daguerre (1787-1851).
Niépce never mentioned this photograph in
his letters.”
So, it would be better to refer to the old
1937 daguerrotype by Daguerre, Still life
with plaster casts and the plates by William
Henry Fox Talbot published in The Pencil of
Nature which Sotheby’s appraises at between
$150,000 and $250,000.
Continuing our journey, we arrive at the
HDUO\WKFHQWXU\ZKHUHZHÀQGKLJKO\
VRXJKWDIWHUDQGZHOONQRZQZRUNVLQFOXGLQJ
those by Edward Weston whose celebrated
Pepper N. 30 of 1930, appraised by Sotheby’s
at between $150,000 and $250,000, was
sold at auction in 2014 for $341,000. Even
Irving Penn, known primarily for his fashion
portraits, is esteemed by collectors for his
experimental and ironic still life works. For
years, Penn collected objects he was obsessed
by, including fragments of glass, bone, metal
and even skulls. Between 1979 and 1980 he
created 32 negatives which were later turned
into platinum prints, but these works have not
gone for a high price.
$ÀFLRQDGRVRIWKLVJHQUHSDUWLFXODUO\OLNHWKH Courtesy Musée Nicéphore Niépce
ZHOONQRZQFROOHFWLRQRIKLVEODFNDQGZKLWH
photographs entitled Still Life: Irving Penn
3KRWRJUDSKV
These masters, whom we could consider
the initiators of this art photography genre, sometimes constructed—for their symbolic What unites them is the extreme care
form the background to contemporary meaning. Many photographers, such as Gilles taken with composition and mastery of
photographers, both emerging artists and Lorin and Kevin Best, draw inspiration from photographic technique, as well as the
WKRVHRILQWHUQDWLRQDOUHQRZQ,QÀQHDUW the concept of the vanitas of objects taken attentive—and sometimes innovative—
photography, still life is even more profoundly from great classical painters, such as the perspective with which they create works
VLJQLÀFDQWWKDQFRPPHUFLDOVWLOOOLIHZKLFK Dutchman David Bailly, and interpret the that are essentially introspective and
essentially requires mastery of photographic ÁHHWLQJQDWXUHRIKXPDQOLIH communicate a message. For example, the
WHFKQLTXHDQGFRPSRVLWLRQDOVNLOO,QÀQHDUW Other photographers work with the works of artist Anne de Carbuccia who went
Still Life becomes the personal expression composition of the elements, starting from to the extremes of the planet to create sets in
of the photographer’s creativity which takes their own experiences in order to narrate a the midst of glaciers, or in the depths of the
advantage of composition, lighting and color personal perspective, such as Veronica Bailey, ocean. Through her photographs, she wants to
to express a concept and an emotional state. <XYDO<DLULDQGWKHZHOONQRZQ2UL*HUVKW raise viewer awareness of the need to respect
The objects used in staging still life while others, like Monica Stevenson, are the environment.
are chosen and selected carefully—and driven by individual passion.

2 | ZOOM
Tavola III dal libro illustrato di William Henry
Fox Talbot intitolato “The Pencil of Nature” pubblicato tra il 1844 e il 1846
LOT SOLD. 275,000 USD at Sotheby’s New York, April 10, 2018.
Il tema della Natura morta, still life in inglese,
nature morte in francese, stilleven in olandese,
unisce più che mai le arti della pittura e della
IRWRJUDÀDDWWUDYHUVRODFRPSRVL]LRQHHLO
controllo della luce. L’immagine di still life
instaura un rapporto particolare dell’artista e
dello spettatore con gli oggetti rappresentati,
immobili e apparentemente inanimati, ma
FDSDFLGLWUDVPHWWHUHVLJQLÀFDWLHGLHYRFDUH
VHQVD]LRQL/RVWUDQLDPHQWRGDOFRQWHVWRSRUWD
lo spettatore ad un coinvolgimento diretto con
O·RSHUDHQHULGXFHODGLVWDQ]D
4XHVWRDVSHWWRqPROWRDSSUH]]DWRGDL
FROOH]LRQLVWLFKHDFTXLVWDQRXQ·RSHUDSHU
passione (e non necessariamente come
investimento), per il coinvolgimento che
regala loro.
9ROHQGRULSHUFRUUHUHO·HYROX]LRQHGHOORVWLOO
OLIHLQIRWRJUDÀDPROWLIDQQRULVDOLUHODSULPD
QDWXUDPRUWDGHOODVWRULDGHOODIRWRJUDÀDD
Nicéphore Niépce, Still life of a set table,
WXWWDYLDFRPHVSLHJD(PPDQXHOOH9LHLOODUG
5HVSRQVDELOHGHOOD&RPXQLFD]LRQHGHO0XVpH
1LFpSKRUH1LpSFH´4uesta fotograÀa q
scomparsa agli inizi del ventesimo secolo e
non q provato che sia un·opera di Niépce.
Inoltre Niépce non citava mai questa
immagine nelle sue lettere…”
Quindi è preferibile fare riferimento all’antico
dagherrotipo di Daguerre del 1937 Still life
with plaster casts e alle tavole di William
Henry Fox Talbot pubblicate su The Pencil of
Edward Weston, Pepper no. 30, 1930, gelatin silver print,
Nature, che la casa d’aste Sotheby’s valuta tra
i 150.000 e i 250.000 dollari.
Proseguendo nel nostro percorso arriviamo
ai primi del Novecento, dove troviamo opere
molto quotate e conosciute, tra cui quelle di
Edward Weston: celebre è Pepper N. 30 del
1930, che Sotheby’s stima tra i 150.000 e i
250.000 dollari, e battuto all’asta nel 2014
a 341.000. Anche Irving Penn, conosciuto
soprattutto per i suoi ritratti di moda, nel
FROOH]LRQLVPRqDSSUH]]DWRSHUOHVXHRSHUHGL
still life sperimentali e ironiche.
Per anni Penn ha raccolto oggetti che lo
ossessionavano, tra i quali anche frammenti
di vetro, ossa, metalli e persino teschi. Nel
HQHOKDUHDOL]]DWRQHJDWLYL
successivamente stampati al platino; queste
RSHUHQRQKDQQRUDJJLXQWRSUH]]LHOHYDWL
*OLDPDQWLGLTXHVWRJHQHUHDSSUH]]DQR
particolarmente la celebre raccolta dei suoi
scatti a colori e bianco e nero Still Life: Irving
Penn Photographs
Questi maestri, che possiamo considerare
LQL]LDWRULGHOJHQHUHDUWLVWLFRFRVWLWXLVFRQR
il background degli autori contemporanei,
DUWLVWLGLIDPDLQWHUQD]LRQDOHHGHPHUJHQWL
1HOODÀQHDUWORVWLOOOLIHDFTXLVLVFH
VLJQLÀFDWLSLSURIRQGLULVSHWWRDOORVWLOOOLIH
FRPPHUFLDOHFKHULFKLHGHHVVHQ]LDOPHQWH
DOWDSDGURQDQ]DGHOODWHFQLFDIRWRJUDÀFDH
FDSDFLWjFRPSRVLWLYHQHOODÀQHDUWORVWLOOOLIH
diventa espressione personale della creatività
GHOO·DXWRUHFKHVIUXWWDODFRPSRVL]LRQH
O·LOOXPLQD]LRQHHLFRORULSHUHVSULPHUHXQ
concetto, uno stato d’animo.
*OLRJJHWWLXWLOL]]DWLSHUDOOHVWLUHORVWLOOOLIH
YHQJRQRVFHOWLHVHOH]LRQDWLFRQDWWHQ]LRQH
WDOYROWDFRVWUXLWLSHULORURVLJQLÀFDWL
simbolici. Molti autori – come Gilles Lorin,
.HYLQ%HVWWUDJJRQRLVSLUD]LRQHGDOO·LGHD
della vanità delle cose dei grandi pittori
classici, come l’olandese David Bailly, e
interpretano il tema della caducità della vita
umana.
$OWULIRWRJUDÀLQYHFHODYRUDQRVXOOD
FRPSRVL]LRQHGHJOLHOHPHQWLSDUWHQGRGD
HVSHULHQ]HGLUHWWHSHUUDFFRQWDUHVWRULH
personali, come Veronica Bailey, Yuval
Yairi, l’affermato Ori Gersht, ed altri ancora
sono spinti da una passione, come Monica
Stevenson.
Li accomuna la cura estrema della
FRPSRVL]LRQHO·DOWDSDGURQDQ]DGHOOD
WHFQLFDIRWRJUDÀFDORVJXDUGRDWWHQWR
talvolta innovativo, con cui creano opere
HVVHQ]LDOPHQWHLQWURVSHWWLYHHFKHWUDVPHWWRQR
un messaggio. Si pensi ai lavori dell’artista
Anne de Carbuccia che ha raggiunto regioni
estreme del pianeta per allestire un set
LQPH]]RDLJKLDFFLRSSXUHLQIRQGRDO
PDUHDWWUDYHUVROHVXHIRWRJUDÀHLQWHQGH
VHQVLELOL]]DUHORVSHWWDWRUHDOODQHFHVVLWjGL
rispettare l’ambiente.
ZOOM | 3
VLAD ANTONOV
RUSSIA
vladantonov.ru

When did you start with photography?

I began to be involved seriously with
SKRWRJUDSK\LQWKHHDUO\VZKHQWKHÀUVW
DGYHUWLVLQJDJHQFLHVDQGPDJD]LQHVDSSHDUHG
in Russia. While during that period I managed
to shoot commercial photo sessions and did
IHPDOHSRUWUDLWVLWZDVP\ÀUVWVWLOOOLIH
photograph entitled Laced Egg in 1999 that
provided the theme for my personal work in
the still life genre with a note of Surrealism,
and which I continue to work with.

From commercial to artistic

photography—what was the developmental
process behind your Art Objects series?
This project has been developed over
time because I am mainly occupied with
PDJD]LQHZRUNGQ, Vogue, Glamour,
L·2fÀciel, Esquire and others). However, each
activity contributes to the other. Working on
PDJD]LQHV,KRQHP\HTXLSPHQWVNLOOVZKLOH
Art 2bMects develops me as an artist. In this
VHULHV,VWLOOUHPHPEHUP\ÀUVWH[SHULHQFH
with double exposure, back in 1996. With
D0DPL\DPHGLXPIRUPDWFDPHUD,WRRND
picture of an apple with the apple core inside.
)RUWKHVHW,PDGHVSHFLDOSLQVWRÀ[WKH
whole apple and shoot it, then I put the core
in the same place and shot it within the same
IUDPHZLWKRXWUHZLQGLQJWKHÀOP7RGD\WKH
equipment has changed and for my personal
SURMHFWV,XVH)XMLÀOP;VHULHVFDPHUDVZKLFK
allow for double exposure without having to
ZDLWWRGHYHORSWKHÀOP2IFRXUVH,FRXOG FORXGVIURPP\URRPZKHQP\JD]HVKLIWHG Then gallery owners noted that people were
use Photoshop to create the same image, WRWKHVS\KROHRQWKHGRRU,GRQ·WNQRZ UHDG\WREX\EODFNDQGZKLWHSLFWXUHVE\
but this would destroy all the magic of the what was so special about the door, but it Soviet masters or ones famous in Europe
creation process. caught my attention. The image just appeared and the US. Technology and daily lifestyles
LQP\PLQGDQG,MXVWKDGWRVKRRWLW6RÀUVW EURXJKWDERXWWKHGHYHORSPHQWRIÀQHDUW
So you don’t use post-production? I shot the detail of the door and then, like a photography for the consumer through
For studio shooting I use Profoto monolights, FKLOGUDQWRFDWFKWKHFORXGVÁ\LQJRYHUWKH H[KLELWLRQVJDOOHULHVPDJD]LQHVDQGHYHQ
a Canon camera with a range of lenses and sea. I changed the lenses during the image an IKEA display area! The market is still
Foba equipment. I always shoot in RAW and overlaying process to make small objects developing and wonderful platforms such as
JPG formats and do some minor adjusting in bigger and vice versa. I also used a Mamiya PHOTOGRAPHER, Garage gallery, MAMM,
Photoshop, but without making any serious OHQVZLWKWLOWVKLIWDGDSWHUDQGVRPHWLPHV Lumiere brothers and many others have
changes in the image. ,FKDQJHGWKHRUGHURIZKDWZDVVKRWÀUVW appeared.
For travel and personal work I use my since the light and the clouds affected and 8QIRUWXQDWHO\DOOSULQWHGSKRWRPDJD]LQHV
)XMLÀOP;VHULHVZLWKDVHWRIYDULRXVOHQVHV LQÁXHQFHGWKHVKRRWLQJRUGHU7KHOLJKWRQWKH disappeared in the wake of political events
LQFOXGLQJPHGLXPIRUPDWFDPHUDOHQVHV clouds was supposed to match the light on the over the last four years. Some of them have
and I shoot in JPG format only because the interior. remained on the Net, but they have lost their
camera doesn’t support double exposure in audience. Personally, I believe photography
RAW format. Then I always use the Silver What does your motto “Photograph the is destined to live on paper, so that it can be
(IH[3URDSSOLFDWLRQWRGHYHORSEODFNDQG door, now run after the clouds” mean? observed closely.
white images because this process resembles It can be taken literally or metaphorically.
WKDWRIGHYHORSLQJÀOP Live, travel, create and feel yourself free. Are you currently working on a new
creation?
How did the unusual idea for the Home What is the current situation in the Àne art Yes, on several projects at once. The
Clouds series come to you? photography market in Russia? Tomato series is slowly developing into
I created it in 2017 while in the lovely seaside Recently, a lot of galleries have appeared the “Vegetarian age” with minimalistic still
ORFDWLRQRI3OD\DGH*DQGLDLQVRXWKHDVW in big Russian cities. Ten years ago it was life pictures of vegetables and fruits with
Spain. GLIÀFXOWWRZRUNZLWKJDOOHULHVEHFDXVHSHRSOH extraordinary shapes. I am also working on a
The idea just came to me while observing the were not buying photographs. new Glitch Art technique.

4 | ZOOM
ZOOM | 5
6 | ZOOM
“PHOTOGRAPHED THE DOOR,
NOW RUN AFTER THE CLOUDS”
Vlad Antonov

ZOOM | 7
4uando hai ini]iato con la fotograÀa?
$OO·LQL]LRGHJOLDQQL¶FRQODFRPSDUVD
GHOOHSULPHDJHQ]LHSXEEOLFLWDULHHULYLVWH
in Russia. Mentre lavoravo alle numerose
VHVVLRQLIRWRJUDÀFKHFRPPHUFLDOLUHDOL]]DQGR
oltre 2000 ritratti femminili, è stata la
IRWRJUDÀDLQWLWRODWDLaced Egg nel 1996 a
ispirare il tema dei miei progetti personali di
VWLOOOLIHDWUDWWLVXUUHDOLVWLFKHUHDOL]]RWXWWRUD
'al mondo della fotograÀa commerciale a
quello artistico. Come hai sviluppato i tuoi
lavori personali della serie Art 2bMects?
4XHVWRSURJHWWRO·KRUHDOL]]DWRQHOFRUVRGHO
tempo, dato il mio impegno costante con le
varie riviste tra le quali GQ, Vogue, Glamour,
Esquire.
7XWWDYLDLGXHWLSLGLIRWRJUDÀDVL
arricchiscono l’uno con l’altro: fotografando
SHUODYRURDFTXLVLVFRXQDEXRQDFRQRVFHQ]D
8 | ZOOM
GHOO·DWWUH]]DWXUDPHQWUHFRQArt 2bMects mi
UHDOL]]RFRPHDUWLVWD
Di questa serie ricordo la mia prima
HVSHULHQ]DFRQODGRSSLDHVSRVL]LRQHVHPSUH
nel 1996, con una Mamiya medio formato
con la quale ho fotografato una mela con un
torsolo al suo interno: per il set ho preparato
GHJOLVSLOOLSDUWLFRODULFRQLTXDOLKRÀVVDWR
bene la mela, fotografandola, e poi ho
PHVVRLOWRUVRORQHOODVWHVVDSRVL]LRQHVHQ]D
riavvolgere la pellicola.
2JJLODPLDDWWUH]]DWXUDqFDPELDWDSHUL
ODYRULSHUVRQDOLXVRXQD)XMLÀOPVHULH;FKH
PLSHUPHWWHGLHVHJXLUHGRSSLHHVSRVL]LRQL
VHQ]DGRYHUDVSHWWDUHORVYLOXSSRGHO
negativo. Naturalmente potrei fare tutto con
Photoshop, ma perderei tutta la magia del
processo creativo.
Quindi non utilizzi la post-produzione?
Per le riprese in studio e gli scatti
FRPPHUFLDOLXWLOL]]RPRQRWRUFH3URIRWRXQD
&DQRQFRQGLYHUVLRELHWWLYLHDWWUH]]DWXUD
da studio Foba. Scatto in RAW e JPEG e
XVR3KRWRVKRSSHUDJJLXVWDPHQWLYDULVHQ]D
DSSRUWDUHPRGLÀFKHVRVWDQ]LDOLDOO·LPPDJLQH
4XDQGRLQYHFHXVRODPLD)XMLÀOPVHULH;SHU
i lavori personali, con un set di obiettivi tra
FXLDQFKHTXHOOLGLPHGLRIRUPDWRVFDWWRVROR
JPEG perché la fotocamera non permette la
GRSSLDHVSRVL]LRQHQHOIRUPDWR5$:
4XLSHUODSRVWSURGX]LRQHXVRLOVRIWZDUH
Silver Efex Pro, il cui procedimento è simile
allo sviluppo della pellicola.
Come è nata l’idea della serie così originale
Home Clouds?
/·KRUHDOL]]DWDQHOTXDQGRPLWURYDYR
nella bella località costiera Playa de Gandia

QHOVXGHVWGHOOD6SDJQD/·LGHDPLqYHQXWD
casualmente, quando lo sguardo mi è caduto
dalle nuvole, che osservavo dalla mia camera,
sullo spioncino della porta. Non so cosa ci
fosse di interessante in quella porta, però
l’immagine è apparsa nella mia mente e a
TXHOSXQWRGRYHYRUHDOL]]DUOD
Ho dapprima fotografato la porta, poi sono
corso dietro alle nuvole, eccitato come un
EDPELQR1HOSURFHVVRGLGRSSLDHVSRVL]LRQH
ho sostituito l’obiettivo per rimpicciolire gli
oggetti grandi, e viceversa.
Ho anche usato l’obiettivo Mamiya con
DGDWWDWRUHWLOWVKLIWHDYROWHFDPELDWRO·RUGLQH
di ciò che doveva essere fotografato per primo
SHUFKpODOXFHHOHQXYROHLQÁXHQ]DYDQR
l’ordine di scatto. La luce sulle nuvole
GRYHYDHVVHUHFRHUHQWHFRQO·LOOXPLQD]LRQH
dell’interno della camera.
Cosa signiÀca esattamente il tuo motto
“Photographed the door, now run the
clouds”?
Può essere inteso letteralmente, o come
metafora: vivi, viaggia, crea, e sentiti libero.
Qual è la situazione attuale del mercato
della fotograÀa Àne art in Russia?
Di recente sono nate molte gallerie nelle
JUDQGLFLWWj'LHFLDQQLIDLQYHFHHUDGLIÀFLOH
collaborare con queste realtà, perché le
SHUVRQHQRQFRPSUDYDQRRSHUHIRWRJUDÀFKH
3RLLJDOOHULVWLKDQQRFDSLWRFKHLFROOH]LRQLVWL
FRPLQFLDYDQRDGLQWHUHVVDUVLDOOHIRWRJUDÀHLQ
bianco e nero di maestri sovietici o di famosi
autori europei e americani e il mercato è nato.
Nel corso del tempo le tecnologie e i
cambiamenti nella società hanno portato la
IRWRJUDÀDWUDJOLLQWHUHVVLGHLFRQVXPDWRULLQ
JDOOHULHPRVWUHULYLVWHHSHUÀQRDOO·,.($
© Vlad Antonov
From Art Objects - Home Clouds series
,OPHUFDWRGHOODIRWRJUDÀDG·DUWHqDQFRUDLQ
HYROX]LRQHHVRQRQDWHRWWLPHSLDWWDIRUPH
come Photographer, Garage Gallery, MAMM,
Lumiere brothers, e altri. Sfortunatamente
LQYHFHOHULYLVWHGLIRWRJUDÀDKDQQRFKLXVRD
causa degli avvenimenti politici degli ultimi
quattro anni, ma qualcuna è sopravvissuta sul
ZHE3HUVRQDOPHQWHFUHGRFKHODIRWRJUDÀD
sia destinata a sopravvivere su carta così da
SRWHUHVVHUHRVVHUYDWDFRQDWWHQ]LRQH
Stai lavorando a qualche nuova creazione?
Sì, a più progetti contemporaneamente. La
serie Tomato sta sfociando in “Vegetarian
$JHµFRQIRWRJUDÀHGLVWLOOOLIHPLQLPDOLVWH
a frutti e verdure dalle forme straordinarie.
Lavoro con una nuova tecnica di Glitch Art
/D*OLWFK$UWVIUXWWDDÀQLHVWHWLFLJOLHUURUL
della tecnica digitale o analogica ndr).
ZOOM | 9
BIN YANG
CHINA
saatchiart.com

When did you start taking pictures and

why did you choose the still life genre?
I started in 2005; in particular, the series with
ÁRZHUVDQGELUGVLVIURP,DOVROLNH
WRPDNHSRUWUDLWVEXWLWLVGLIÀFXOWWRÀQG
models worth taking. Moreover, the still life
genre allows me to make better use of my
specialty in painting.

What kind of painting are you referring to

and which masters inspired you?
,DPVWURQJO\LQÁXHQFHGE\WKHJUHDW'XWFK
still life painters, such as Jan Van Eyck and
Jan Davids De Heem. Painting allows a great
GHSWKRIÀHOGDQGDWWKHVDPHWLPHFODULW\RI
details in the foreground. And photography is
RIWHQGLIÀFXOW

From the shooting to lighting and

composition, how are these works created?
3LHFHE\SLHFHOLNHDSDLQWHU,QWKHHQG,
make a collage of all the elements. A method
that requires a lot of time and energy but in
the end it’s worth it. I choose to use mainly
QDWXUDOOLJKWDQG,ORRNIRUWKHJUHDWHVWGHSWK
RIÀHOGDVZHOODVWKHFODULW\RIWKHGHWDLOV

Where did you photograph the Áowers and

the birds?
In the parks of Beijing and the Zoo.

Why did you choose these main elements

for your compositions?
To recall the paintings of the Chinese Song
Dynasty that I particularly appreciate.

What camera do you use and who prints

your photographs?
I use a Canon 5D Mark II and a Panasonic
GF2 which I also use to shoot the details of
WKHÁRZHUVIRUZKLFKSL[HOVDUHPRUH #4
than enough. YellowKorner has produced and Ed. 1 of 5
sold many of my works and I have galleries
Right:
all over the world. Blooming and Riches
Ed. 1 of 5
So, what is the difference between the
YellowKorner prints and the ones we see at
Saatchi Art?
Those sold by Saatchi Art are part of a special
HGLWLRQRIVLJQHGDQGZLWKKDQGSDLQWHG
details.

Are you working on a new series? What

are your plans for 2019?
I haven’t thought about a new series yet,
I don’t want to repeat myself. I am not a
SUROLÀFDUWLVW8VXDOO\DQDUWLVWZLOORQO\
leave a very few good works in his lifetime.

10 | ZOOM
ZOOM | 11
Previous page:
Chrysanthemum and Birds Flowers and Crane
Ed. 1 of 5 Ed. 2 of 5

ZOOM | 13
Magnolia and Stork #5
Ed. 1 of 5

14 | ZOOM
 Peacock
Ed. 2 of 5

ZOOM | 15
 Quando hai iniziato a fotografare e perché
hai scelto il genere dello still life?
Ho cominciato nel 2005; in particolare,
ODVHULHFRQLÀRULHJOLXFFHOOLqGHO
0LSLDFHDQFKHUHDOL]]DUHULWUDWWLPDq
GLIÀFLOHWURYDUHPRGHOOLFKHYDOJDODSHQDGL
riprendere. Inoltre il genere dello still life mi
Previous page: permette di fare un uso migliore della mia
White Birds Rockery FRQRVFHQ]DGHOODSLWWXUD
Ed. 1 of 5 Ed. 1 of 5
Di quale tipo di pittura parli e quali
maestri ti hanno ispirato?
6RQRIRUWHPHQWHLQÁXHQ]DWRGHLJUDQGLSLWWRUL
dello still life olandese, come Jan Van Eyck,
Jan Davids De Heem. La pittura permette
di rappresentare una grande profondità di
campo e nello stesso tempo di descrivere
FRQFKLDUH]]DLGHWWDJOLLQSULPRSLDQR,Q
IRWRJUDÀDqVSHVVRGLIÀFLOH

Dalla ripresa alla composizione

all’illuminazione, come sono nate queste
opere?
3H]]RSHUSH]]RFRPHXQSLWWRUHHDOODÀQH
UHDOL]]RXQFROODJHGLWXWWLJOLHOHPHQWL8Q
metodo che richiede molto tempo ed energie
PDDOODÀQHQHYDOHODSHQD6FHOJRGLXVDUH
principalmente la luce naturale, cerco la
maggiore profondità di campo possibile così
come la leggibilità dei dettagli.

Dove hai fotografato i Àori e gli uccelli?

Nei parchi di Pechino e allo Zoo.

Perché hai scelto proprio questi elementi

principali per le tue composizioni?
Per richiamare i dipinti della dinastia Song
FLQHVHFKHDSSUH]]RSDUWLFRODUPHQWH

Quale fotocamera utilizzi e chi stampa le

tue fotograÀe?
Uso una Canon Eos 5D Mark II e una
Panasonic GF2 con la quale riprendo anche
LGHWWDJOLGHLÀRULSHULTXDOLPHJDSL[HO
VRQRSLFKHVXIÀFLHQWL<HOORZ.RUQHUKD
prodotto e venduto molti dei miei lavori e ha
gallerie in tutto il mondo.

Quale differenza c’è allora tra le stampe

© Bin Yang
Represented by Saatchi Art
offerte da YellowKorner e quelle che
vediamo in Saatchi Art?
Quelle in vendita da Saatchi Art fanno parte
GLXQ·HGL]LRQHVSHFLDOHGLVWDPSHÀUPDWHH
con dettagli dipinti a mano.

Conosciamo solo questa serie di lavori con

il tuo nome, stai lavorando a qualcosa di
nuovo?
No, non voglio ripetermi. Non sono un artista
SUROLÀFR'LVROLWRXQDUWLVWDODVFLDSRFKL
buoni lavori nella sua vita.

ZOOM | 17
ROGER RICCO
USA
rogerricco.com
Shadows Lemon Tree, 2012
You are the co-founder and now “Partner
Emeritus” of the celebrated Ricco Maresca
*allery, but which came Àrst, artist or art
dealer?
I think there are two types of art dealers,
those who wanted to be artists (and some still
are) and those who wanted to be collectors. I
had, and still have, interest in collecting, but
it’s more a natural instinct and connection
between my own life as an artist and the work
that other artists are doing that inspires and
interest me the most.
Life in the gallery world, especially in New
York City, is a wild ride and I have always
enjoyed discovering and showing emerging
talent in whatever the medium. However, in
the background, I have continued to make and
show my own work.
18 | ZOOM
Did your career as an artist initiate from
photography?
I started in the world of painting. Just prior
to my graduation from university, I was
DZDUGHGWKH5RPH3UL]HLQSDLQWLQJIURPWKH
American Academy in Rome. During my two
years of residence in Italy there, I acquired a
QDWXUDODIÀQLW\DQGFXULRVLW\IRUWKHFUHDWLYH
process and dialoguing with other artists in
general.
Then I returned to the United States and
settled in New York City where I participated
very actively in the life and culture of the
1960s. My creative interests spread into music
and the production of public events, always
working with other artists. At one point a
JRRGIULHQGJDYHPHDQROG5ROOHLÁH[FDPHUD
and I soon fell in love with seeing the world
through the camera’s ground glass.
Now I primarily shoot with a Sony 7r
mirrorless camera, which I totally love and I
would also love to have the new Hasselblad!
How did you arrive at still life art and
what fascinates you about this genre?
As chance would have it, I was introduced
to the renowned photographer, Irving Penn,
who happened to be shooting a series on high
fashion from Europe of the Early 20th century
IRUWKHQHZO\HVWDEOLVKHG)DVKLRQ,QVWLWXWHDW
the Metropolitan Museum. To my surprise,
Penn invited me to assist him during this
project and thus I discovered a new world,
the quiet world of arranging, lighting and
photographing still subjects.
I also greatly admired Penn’s commercial
work, especially his ability to take the most
common of assignments such as a tooth brush
and a glass of water and simultaneously
produce a great photograph and till do the

job of selling the product. Certainly, I love
all great photography, but I personally never
had an interest in doing street or landscape
photography.
Where do the elements of your
compositions come from?
My studio home is in the Catskill Mountains
of New York State where each of the four
seasons provides me with an abundance of
QDWXUDOPDWHULDOV'XULQJWKH\HDUÁRZHUV
SODQWVWUHHVDQGJUDVVHVHPHUJHLQDQLQÀQLW\
of textures and colors. Once in the studio I
shoot on table top, within small sets or neutral
backdrops that I create.
Other works, such as my Shadows series,
are shot through translucent screens. My
lighting is simple, using daylight, soft boxes
DQG/('OLJKWV$WWLPHV,DOVRXVHP\ÁDW
scanner instead of the camera and that has
been particularly useful for the photos with
feathers. The photo In the Studio 1, 2018 with
falling feathers is accomplished, in part, using
VWDWLFHOHFWULFLW\,UDUHO\XVHÀOWHUVRIDQ\VRUW
DQGSRVWSURGXFWLRQLVOLPLWHGWRQHFHVVDU\
corrections. Still life and studio work
fascinate me because I love the challenge of
limitation and chance.
Returning to your experience as a gallery
owner, is still life a genre appreciated by
photography collectors?
In The Studio 1, 2018
Unless it is vintage photography and thus
FXUUHQWO\ÀQDQFLDOO\YDOXDEOH,ÀQGWKHUHLV
only moderate interest in contemporary still
life photography among collectors.
But in the end, it seems to me if work is
really good, a collector responds to good
ZRUNÀUVWDQGIRUHPRVWZLWKRXWSUHMXGLFH
regarding period or style.
As a gallerist I have always found that the
best collectors are those who, like myself,
enjoy the discovery process more than the
fashion or style of the moment and instead
commit themselves to an ideal of excellence,
mystery and chance.
My work is acquired by collectors and I also
work extensively with designers and curators.
ZOOM | 19
 Witness 10, 2017

Feathers 6ab ivert, 2014-2018

20 | ZOOM
Small Bottles 24a invert

ZOOM | 21
Flowers, Christmas, Cactus 1, 2017
Sei cofondatore e ora anche “Partner
Emeritus” della nota Ricco Maresca
Gallery, ma sei nato prima artista o
gallerista?
3HUHVSHULHQ]DSHQVRFKHFLVLDQRGXHWLSLGL
mercanti d’arte, quelli che volevano essere
artisti (e alcuni lo sono ancora) e quelli che
YROHYDQRHVVHUHFROOH]LRQLVWL
Io ho avuto, e ho tuttora, interesse a
FROOH]LRQDUHPDODPLDqVRSUDWWXWWRXQD
connessione tra la mia vita da artista e il
lavoro che degli altri colleghi: questo è ciò
che mi ispira e interessa maggiormente.
La vita nel mondo delle gallerie, specialmente
22 | ZOOM
a New York, è una corsa sfrenata e mi sono
sempre divertito a scoprire e mostrare nuovi
talenti. Tuttavia, dietro le quinte, ho sempre
UHDOL]]DWRHPRVWUDWRLOPLRODYRUR
La tua carriera da artista è cominciata con
la fotograÀa?
+RLQL]LDWRQHOPRQGRGHOODSLWWXUDHPLIX
conferito il Premio Roma dall’American
Academy a Roma prima che terminassi
l’Università; durante i miei due anni italiani
KRDFTXLVLWRXQDQDWXUDOHDIÀQLWjHFXULRVLWj
per il processo creativo dialogando con molti
artisti in generale.
Dopo essere tornato negli Stati Uniti mi sono
stabilito a New York, dove ho partecipato
molto attivamente alla vita culturale degli
DQQL¶+RDOODUJDWRLPLHLLQWHUHVVLDOOD
PXVLFDHDOODSURGX]LRQHGLHYHQWLSXEEOLFL
collaborando sempre con diversi artisti.
Poi è arrivato un buon amico che mi ha
UHJDODWRXQDYHFFKLD5ROOHLÁH[PLVRQR
immediatamente innamorato di come il
mondo appare attraverso il vetro smerigliato
di questa fotocamera.
Ora uso la mirrorless Sony A7R che amo
molto, ma vorrei avere la nuova Hasselblad.

Come sei arrivato all’arte dello still life e
cosa ti affascina di questo genere?
Per caso, sono stato presentato ad Irving
Penn, che stava girando una serie sull’alta
moda europea del primo Novecento per il
nuovo dipartimento dedicato alla moda del
Metropolitan Museum di New York. Con
mia sorpresa, Penn mi invitò ad assisterlo
durante questo progetto e così ho scoperto un
mondo nuovo per me, cioè la tranquillità di
RUJDQL]]DUHLOOXPLQDUHHIRWRJUDIDUHVRJJHWWL
immobili. Di Penn ho ammirato molto anche
i lavori commerciali di still life per la sua
capacità di accettare le più comuni delle
FRPPLVVLRQLFRPHXQRVSD]]ROLQRGDGHQWL
o un biccher d’acqua, rendendo il prodotto
vendibile e nello stesso tempo una grande
IRWRJUDÀD
&HUWDPHQWHDPRWXWWDODJUDQGHIRWRJUDÀD
ma personalmente non ho mai avuto alcun
interesse per quella di Street o di paesaggio.
Come nascono le tue composizioni?
/DPLDFDVDVWXGLRqVXLPRQWL&DWVNLOO
dello stato di New York dove ciascuna delle
quattro stagioni mi regala una grande varietà
di soggetti naturali. Nel corso dell’anno,
QDVFRQRÀRULSLDQWHDOEHULHYDULHHUEHLQ
XQ·LQÀQLWjGLFRORUL
Una volta in studio fotografo questi soggetti
LQSLFFROLVHWIRWRJUDÀFLDQFKHFRQIRQGDOL
neutri che creo io stesso. Altri lavori,
come quelli della serie Shadows, sono stati
UHDOL]]DWLDWWUDYHUVRVFKHUPLWUDVOXFLGL
/·LOOXPLQD]LRQHFKHXVRqVHPSOLFHOXFH
naturale, soft box e luci a LED. A volte uso
il mio scanner al posto della fotocamera, mi
qVWDWRXWLOLVVLPRQHOOHIRWRJUDÀHDOOHSLXPH
In particolare, per la foto In the Studio 1,
20128 con le piume che cadono, ho usato
DQFKHO·HOHWWULFLWjVWDWLFD5DUDPHQWHXVRÀOWUL
HODSRVWSURGX]LRQHqOLPLWDWDDOOHFRUUH]LRQL
QHFHVVDULH/DIRWRJUDÀDGLVWLOOOLIHHLOODYRUR
LQVWXGLRPLDIIDVFLQDQRSHUFKpDPRVÀGDUHL
limiti e le loro possibilità.
WW 006
All images © Roger Ricco
Tornando alla tua esperienza di gallerista,
lo still life è un genere apprezzato dai
collezionisti di fotograÀa?
$PHQRFKHQRQVLDXQDIRWRJUDÀDG·HSRFD
HTXLQGLÀQDQ]LDULDPHQWHLQWHUHVVDQWHWURYR
che vi sia solo un interesse moderato per la
IRWRJUDÀDGLVWLOOOLIHFRQWHPSRUDQHDWUDL
FROOH]LRQLVWL
Ma se un’opera è davvero buona, il
FROOH]LRQLVWDULVSRQGHEHQHVHQ]DSUHJLXGL]L
per stile, autore o periodo. Come gallerista
KRVHPSUHWURYDWRFKHLPLJOLRULFROOH]LRQLVWL
VRQRTXHOOLFKHFRPHPHDSSUH]]DQRFKL
ama scoprire un autore o un’opera, più che
seguire la moda e lo stile del momento, e
FHUFDQRXQLGHDOHGLHFFHOOHQ]DPLVWHURH
opportunità.
/HPLHIRWRJUDÀHVRQRDFTXLVWDWHGD
FROOH]LRQLVWLPDDQFKHGDGHVLJQHUVH
curatori.
ZOOM | 23
VERONICA BAILEY
GREAT BRITAIN
veronicabaileystudio.co.uk

How was the ColourÀelds series born and

how was it that you found inspiration in
John Keats’ poetry?
Indirectly, &olourÀelds is a eulogy to my
IDWKHU,QKHZDVXQZHOOZLWKHQG
stage renal disease (kidney failure) and the
Royal Free Hospital, in Hampstead, London
was nearby the Keats House, a few roads
away from 2 Willow Road which I visited
frequently. Reading John Keats’ poetry was
been as a process of coming to terms with an
LQHYLWDEOHIDPLO\EHUHDYHPHQW6SHFLÀFDOO\
I found inspiration in the poem “To Autumn”
published in 1820, the beauty and decay of
the seasons, the annual cycle of renewal, the
awareness of the inevitability of death…this I
found in the landscape.
,DSSOLHGWKLVWKLQNLQJWRSKRWRJUDSKVRIÁRUD
near my north London home in an area of
regeneration around a historical river path.
7KHVHQHZO\SODQWHGZLOGÁRZHUVWKDW,KDG
photographed in summer eventually started
to die, so I found in the words of the poem as
¶WZLQHGÁRZHUV·DQG¶VRIWG\LQJGD\·WKHWLWOHV
for the photographs of the &olourÀelds series.
Metaphorically, I visualised all the millions
RIWLQ\LQWHUWZLQHGÀOWHULQJEORRGFDSLOODULHV
closing within the kidneys and reinterpreted
WKHPDVDXWXPQDOÁRZHUVGU\LQJRXWDQG
decaying at the end of a life cycle.

Where did the idea to use aniline dye inks

comes from?
I wanted to interact with my photography
through a physical gesture using colour. My
aim was to metaphorically revive through
FRORXUWKHÁRUDDQGERG\RIWKH0RVHOOHULYHU
bed landscape that remained in my memory.
I was seeking to transform the original
photographic material using vibrant colour
SLJPHQWV6R,UHVHDUFKHGDZDWHUEDVHGLQN
G\HWKDWZRXOG¶EOHHG·WKURXJKWKHLPDJHU\
but remain transparent in places. The
concentrated inks were in tiny glass bottles
with rubber droppers.
They seemed medicinal in application, and
mixed well with the old inks, renewing and
JHQHUDWLQJOLIHEDFNLQWRWKHÁRUDOLPDJHU\
creating &olourÀelds. The Lives of Lee Miller
I discovered these aniline dyes were fugitive from 2 Willow Road revisited series 2013
© Veronica Bailey/Lee Miller Archives, DACS, London 2018
and lacked permanence. So, by scanning the
inked photographs and printing them through
a Durst Lambda machine, these could then
EHSUHVHUYHGDVÀQHDUWSKRWRJUDSKLFGLJLWDO
prints. in 1939 in Hampstead, London, that was the subject of my work. I photographed the
formerly owned by modernist architect Ernö books from the edges perspective, featuring
Tell us about the 2 Willow Road series…
,WZDVP\ÀUVWVHULHVRISKRWRJUDSKLFLPDJHV
which also won the Jerwood Photography
Award in 2003. 2 Willow Road is an
innovative twentieth century house built
24 | ZOOM
*ROGÀQJHUDQGKLVZLIH8UVXOD
Blackwell and in 1996 it was left to The
National Trust. From 1998 to 2003 I was
a volunteer tour guide and had access to
their private library, which in time became
glimpses of the content within.
The photographs from the next 2 Willow
Road Re-visitedVSHFLÀFDOO\UHÁHFWWHQ
artist books from their own archive. To
complete the series, I successfully gained

copyright permission from the Man Ray
Trust ADAGP, Lee Miller Archive, Amédée
Henry Moore
from 2 Willow Road revisited series 2013
photographer and photojournalist Lee Miller
and the British surrealist artist Roland
7KHWHUP¶HSKHPHUDO·DSSOLHVWRDEURDG
spectrum of my photographic series.
I’m drawn to capture threatened forms of
human communication and knowledge
dissemination, through traditional forms like
paper and script.
,·PDOVRLQWHUHVWHGLQVKRUWOLYHGDQGÁHHWLQJ
V\PEROVVXFKDVÁRZHUV6RLQP\ZRUN
I’m exploring the realms of mortality and
the transient nature of life. Old Master works
such as Self- Portrait with Vanitas Symbols
1651, painted by Dutch artist David Bailly
have a particular existential resonance with
me.
What printing procedures do you use?
0\HDUOLHVWREMHFWEDVHGSKRWRJUDSKLFVWLOO
OLIHVHULHVIURPDUHSUHGRPLQDQWO\
digital.
After 2009 I worked with Polaroids for a
project called Limited Time, for the series
Hermes Baby 2011 I created slides by myself
and with &olourÀelds in 2014 I returned to
ÀOPQHJDWLYHVDQGGLJLWDOSULQWLQJ
Then in 2016, for my Glass Ladies series,
,XVHGDKLJKUHVROXWLRQGLJLWDOFDSWXUH
process using equipment within the Courtauld
Institute of Art. Experimenting is an important
part of my process, as well as spontaneity.
What cameras do you use?
I use a variety of cameras and experimental
methods to capture images, mixing both
PRGHUQGLJLWDODQGYLQWDJHDQDORJXH
depending on the subject matter and place.
Although it is not always practical in low
light, my vintage Mamiya C330 with a top
YLHZÀQGHUPHFKDQLFDOO\LVYHU\VDWLVI\LQJ
to use as is the Land Polaroid camera with
bellows which provides me with both a
negative and instant photographic image. I
ZRUNJHQHUDOO\XVLQJODUJHIRUPDWGLJLWDO
capture shooting on location within archives.
2 Willow Road 2003, Postscript 2005
and Hours of Devotion 2007 are all taken
in rooms with a single light source in a
controlled environment.
This is evident also in my Glass Ladies
Series 2016 where I worked with the Paul
Laib Collection of glass negatives within The
Courtauld Witt Library, London.
The &olourÀelds 201 series was shot using
DQHDUO\QLQHWLHV2O\PSXV,6³RQHRI
WKHSLRQHHULQJ6/5VLQJOHOHQV]RRPFDPHUDV
with one 36 negative roll of Kodak Portra
160. In 2019 I plan to explore the notebooks
2]HQIDQW$'$*3DQG7KH3ROORFN.UDVQHU
Foundation.
Also my Postscript series of 2005 is
LQWHUHVWLQJEHFDXVHLWLQYROYHVKDQGZULWWHQ
letters exchanged between the American
3HQURVHRYHUWKH\HDUV
Your still life conceptual series all feature
different subjects. What is the common
thread of your art?
RI3UXQHOOD&ORXJKIRXQGLQWKH
Tate Gallery archive, and spend some time
in Suffolk—where the artist lived—most
probably using my vintage Mamiya C330
camera.
ZOOM | 25
 Twined Flowers
from Colourields 2014 series

26 | ZOOM
 To Autumn
from Colourields 2014 series

ZOOM | 27
 Mellow Fruitfulness
from Colourields 2014 series

28 | ZOOM
 Light Wind
from Colourields 2014 series

ZOOM | 29
Come è nata la serie ColourÀelds e perché
hai trovato ispirazione nella poesia di John
Keat?
Indirettamente, &olourÀelds è un tributo
a mio padre. Nel 2013 gli è stata scoperta
una malattia renale allo stadio terminale e
LOVXRRVSHGDOHVLWURYDYDQHOOHYLFLQDQ]HGL
.HDWV+RXVHDSRFKHVWUDGHGLGLVWDQ]DGD
2 Willow Road, che visitavo di frequente: la
SRHVLDGL-RKQ.HDWVSHUPHq
stata una sorta di percorso per accettare un
inevitabile lutto familiare. In particolare ho
WURYDWRLVSLUD]LRQHQHOSRHPDTo Autumn
GHOODEHOOH]]DHLOGHFDGLPHQWRGHOOH
stagioni, il ciclo annuale del rinnovamento,
ODFRQVDSHYROH]]DGHOO·LQHYLWDELOLWjGHOOD
morte… li ritrovavo nel paesaggio.
+RDSSOLFDWRTXHVWRSHQVLHURDOOHIRWRJUDÀH
GHLÀRULFKHKRVFDWWDWRYLFLQRDOODPLDFDVDD
QRUGGL/RQGUDLQXQ·DUHDERQLÀFDWDQHLSUHVVL
GHOSHUFRUVRVWRULFRGHOÀXPH,ÀRULVHOYDWLFL
FKHDYHYRIRWRJUDIDWRLQHVWDWHLQL]LDYDQR
a morire e dalle parole del poema come
´WZLQHGÁRZHUVµH´VRIWG\LQJGD\µKRWUDWWR
LVSLUD]LRQHSHULWLWROLGHOOHPLHIRWRJUDÀH
0HWDIRULFDPHQWHKRYLVXDOL]]DWRLPLOLRQL
di minuscoli capillari sanguigni che si
intrecciano e si chiudono all’interno dei reni e
OLKRUHLQWHUSUHWDWLFRPHÀRULDXWXQQDOLFKHVL
VHFFDQRHVLGHFRPSRQJRQRDOODÀQHGHOFLFOR
vitale.

Da dove viene l’idea di usare inchiostri

For Summer
all’anilina? from Colourields 2014 series
9ROHYRLQWHUDJLUHFRQODPLDIRWRJUDÀDFRQXQ
JHVWRÀVLFRXVDQGRLOFRORUH,OPLRRELHWWLYR
era di ravvivare metaforicamente l’immagine
GHOODÁRUDHGHOSDHVDJJLRGHOÀXPH0RVHOOD
che mi è rimasto impresso per i suoi colori.
Il mio progetto era di trasformare il materiale
IRWRJUDÀFRRULJLQDOHFRQSLJPHQWLDFRORUL
intensi ed ho trovato un inchiostro a base
d’acqua che “sanguina” attraverso le
immagini, ma rimane trasparente in alcuni
punti. Gli inchiostri concentrati erano in
piccole bottiglie di vetro con contagocce di
gomma. Sembravano prodotti medici e si
mescolavano bene con i vecchi inchiostri,
rinnovando e riportando la vita nelle
LPPDJLQLÁRUHDOL&RVuqQDWD&olourÀelds.
Ho scoperto che questi coloranti all’anilina
VELDGLYDQRHPDQFDYDQRGLSHUPDQHQ]D
4XLQGLVFDQVLRQDQGROHIRWRJUDÀHFRQJOL
inchiostri e stampandole attraverso una Durst
Lambda, queste potrebbero essere conservate
FRPHVWDPSHGLJLWDOLÀQHDUW

Parlaci della serie 2 Willow Road…

(·VWDWDODPLDSULPDVHULHGLIRWRJUDÀH Winnowing Wind
che ha anche vinto il Jerwood Photography from Colourields 2014 series
Award nel 2003. 2 Willow Road è una casa
del ventesimo secolo, costruita nel quartiere
londinese di Hampstead nel 1939, in passato
di proprietà dell’architetto modernista Ernö
*ROGÀQJHUHGLVXDPRJOLH
Ursula Blackwell; nel 1996 è stata lasciata
a The National Trust. Dal 1998 al 2003 ho
fatto la guida turistica volontaria e ho avuto
accesso alla biblioteca privata, che poi è

30 | ZOOM

© Veronica Bailey / The Courtauld Institute of Art / The de Laszlo Gift of Paul Laib Negatives / Sir James Gunn (1893 - 1964) Estate of the Artist 2018
diventata l’argomento del mio lavoro: ho
fotografato i libri inquadrando i bordi delle
pagine e mostrando solo degli scorci del
contenuto.
La immagini della successiva series 2
Willow Road Re-visited mostrano in modo
VSHFLÀFRGLHFLOLEULGLDUWLVWLGDOO·DUFKLYLR
GHL*ROGÀQJHUXQDIRUPDDOWHUQDWLYDGL
ritrattistica attraverso i libri, e per completare
l’opera ho ottenuto il permesso dalla Man
Ray Trust ADAGP, del Lee Miller Archive,
$PpGpH2]HQIDQW$'$*3HGH7KH3ROORFN
Krasner Foundation. Anche la serie Postscript
del 2005 è interessante perché riguarda le
e la natura transitoria della vita. Le opere
di antichi maestri come Self-Portrait with
Vanitas Symbols di David Bailly hanno una
SDUWLFRODUHLQÁXHQ]DVXGLPH
Quali procedimenti di stampa utilizzi?
/HPLHSULPHVHULHIRWRJUDÀFKHGLVWLOOOLIHGDO
2003 al 2008 sono prevalentemente digitali,
ma dopo il 2009 ho lavorato con le Polaroid
per un progetto chiamato Limited Time; per
la serie Hermes Baby nel 2011 ho lavorato in
diapositiva e con &olourÀelds nel 2014 sono
tornata alla pellicola negativa e alla stampa
digitale.
Lady Glasso
from Glass Ladies 2016 series
All images © Veronica Bailey
Represented by Bernheimer Fine Art, Switzerland
Gaain Gallery, Korea
6HEEHQHQRQVLDVHPSUHDGDWWDDOOHFRQGL]LRQL
di luce scarsa, la mia Mamiya C330 con
PLULQRDSR]]HWWRqPROWRSLDFHYROHGDXVDUH
FRVuFRPHOD3RODURLG/DQGFDPHUDDVRIÀHWWR
che mi fornisce sia un negativo che una
stampa.
Lavoro generalmente con fotocamere
digitali di grande formato scattando sul
posto all’interno di archivi: le immagini di 2
Willow Road 2003, Postscript 2005, Hours
of Devotion 2007VRQRWXWWHVFDWWDWHLQVWDQ]H
con un’unica fonte di luce in un ambiente
controllato, così come la Glass Ladies Series
GHGLFDWDDOODFROOH]LRQHGHOIRWRJUDIR
lettere che si sono scambiate il fotografo e
fotoreporter americano Lee Miller e l’artista
surrealista inglese Roland Penrose dal 1938
al 1945.
I soggetti delle tue serie di still life
concettuali sono molto diversi l’uno
dall’altra, qual è il Àlo conduttore della tua
,QÀQHQHOSHUGlass Ladies, ho
XWLOL]]DWRXQSURFHVVRGLDFTXLVL]LRQH
GLJLWDOHDGDOWDULVROX]LRQHXWLOL]]DQGR
apparecchiature del Courtauld Institute of Art.
/DVSHULPHQWD]LRQHqXQDSDUWHLPSRUWDQWH
del mio processo creativo, così come la
spontaneità.
3DXO/DLEDOO·LQWHUQRGHOOD
Courtauld Witt Library, a Londra.
/DVHULH&RORXUÀHOGVO·KRVFDWWDWD
XWLOL]]DQGRXQD2O\PSXV,6GHLSULPL
anni Novanta, con pellicola Kodak Portra 160.
Per l’anno prossimo ho in programma di
esplorare i quaderni di Prunella Clough
ricerca?
(·LOFRQFHWWRGL´HIÀPHURµ6RQRDWWUDWWD
GDOOHIRUPHGLFRPXQLFD]LRQHHGLGLIIXVLRQH
GHOODFRQRVFHQ]DFRPHIRJOLGLFDUWDH
PDQRVFULWWLGDLVLPEROLIXJDFLHGDLÀRUL1HO
mio lavoro esploro il concetto della morte
Quale fotocamera utilizzi?
Per catturare le mie immagini uso una
varietà di fotocamere e metodi sperimentali,
mescolando le moderne tecniche digitali a
TXHOOHDQDORJLFKHWUDGL]LRQDOLDVHFRQGD
dell’argomento e del luogo.
DOO·LQWHUQRGHOO·DUFKLYLRGHOOD
Tate Modern e di passare un po’ di tempo
D6XIIRONGRYHKDYLVVXWRO·DUWLVWDSHU
creare un nuovo corpo di lavori, molto
probabilmente con la mia Mamiya C330.
ZOOM | 31
GILLES LORIN
FRANCE
gilleslorin.com

You deÀne yourself an “alchemist”. Why?

I always say this with a wink. It was actually
something someone said to me once and
I think this is a great description for those
like me who like to create an image from
raw materials and precious metals through
chemical reactions. It is simply fascinating
and magical. There are two steps to my work:
the photography and the printmaking—in
HVVHQFHFDSWXULQJWKHLPDJHDQGPDWHULDOL]LQJ
it on paper or other support. Photography and
printing offer so many possibilities. With both
of these steps there are a number of solutions
WRFUHDWHDVSHFLÀFDWPRVSKHUHDQGPRRG
so I like to keep the photography and the
printmaking separate, although I do plan both
ahead.

Let’s start with photography, from the

choice of subjects to composition and
lighting.
Mine is “slow photography”. I take my time
with a camera on a tripod and slowly build
the composition. I prefer natural light, but if it
isn’t there, I use strobes, trying to keep their
light as uninvasive as possible and building
the lighting slowly. Regarding the choice
of the subjects, I have no limitations, they
simply have to speak to me.
Let’s talk about the printing. For the past
Àfteen years, you have been exploring
all kinds of materials and photographic
processing techniques of the past—
with special interest in glass negative
photogravure and platinum printing.
In particular, you have discovered
Japanese Gampi paper and the pure
gold leaves with which you created your
Divin series. How did this procedure come
about?
I developed my own technique over the
FRXUVHRIÀYH\HDUV7KHKDUGHVWSDUWZDV
to make an abstraction of the paper so that
it would almost feel like the print is made
directly on the gold leaf. I had to experiment
with so many papers and so many ways of
treating the paper and mounting the gold.
The prints are made on a very thin, 10gsm
gampi tissue, which is very challenging
considering the fragility of the paper through
WKHZHWSURFHVV7KHSULQWVDUHGULHGÁDWDQG
I apply very thin layers of varnish over the
FRXUVHRIVHYHUDOGD\VXVLQJDFRQVHUYDWLRQ
grade varnish of my own formulation. The
gold is then applied from the back and the
print cured for several days, even weeks. It
is a very long process, during the course of
which so much can happen. The failure rate
is quite high but the resulting prints are so
worth it.
Where do you Ànd these materials?
I have different sources in various countries.
*RRG*DPSLLVSUREDEO\WKHKDUGHVWWRÀQG
since it is handmade in small batches. Gampi
making is a true art and a sheet of Gampi can
be a work of art on its own.
)RUWKHFKLQHFROOpSULQWV,FXUUHQWO\ZRUN
with a paper that is handmade in Berlin by
WKHZHOONQRZQ*DQJROI8OEULFKW+RZHYHU,
have purchased the last of his stocks and will
have to wait until next year for new supplies.
I am always on the lookout for new papers
and ideas.
Flowers still life series has two editions,
platinum-palladium print on handmade
Japanese gampi and Chine-collé platinum-
palladium print on handmade Japanese
gampi. What is the difference between
them?
)RUWKHWZRVL]HV,ZDQWHGWRFRQYH\D
different mood so I printed them differently.
The small prints are more informal, letting the
gampi express itself through its imperfections
and its movement. It has more of a wabi sabi
approach, as they say in Japan.
The larger prints, which are chine collé, a
WHFKQLTXHXVHGLQWUDGLWLRQDOSULQWPDNLQJ
for combining gampi with watercolor paper,
are more formal and western in approach that
creates more texture and depth to the image.
The value of the Ànal print is high, what is
the price range?
Between 1,500 and 3,000 euros. The cost of
the materials is quite high. Both platinum
and palladium are very expensive metals to
ZRUNZLWKJDPSLFDQEHXSWRÀYHWLPHVWKH
price of a western watercolor paper, and the
SULQWLQJLVYHU\WLPHFRQVXPLQJVXFKDVWKH
gold leaf process. But the resulting prints are
worth all the effort.
It was the wonderful experience Christie’s
in London as a full-time specialist in
Japanese art that greatly enriched your
artistic sensibility. What is it that fascinates
you about oriental art?
7KLVLVDGLIÀFXOWTXHVWLRQWRDQVZHUZLWKRXW
JRLQJLQWRGHWDLOVDQGORRNLQJDWVSHFLÀF
areas, especially when considering a time
span of over two millennia.
2YHUDOO,ÀQGWKH-DSDQHVHFXOWXUHDQG
philosophy fascinating and unique and in
WKH-DSDQHVH,UHFRJQL]HDQDHVWKHWLFVHQVH
craftsmanship and unequaled commitment.
The London experience allowed me to get
closer to a remarkable quantity of exceptional
works of art, broaden my study and meet
other specialists. This is also where I met
Jana, a specialist in prints, who has become
my wife.
Will you be presenting new works this
coming year?
Yes, two new portfolios which the Berlin
gallery Jörg Maaß Kunsthandel will show at
the AIPAD in NY next April.

32 | ZOOM
 Transience 2018
from Memento mori & Classical studies series
Chine-collé platinum-palladium print on gampi
48 x 60 cm, Limited ed. of 5 + AP
32 x 40 cm, Limited ed. of 8 + AP

ZOOM | 33
 Right:
Les Feuilles Givrées Gerbera 2017
from Divin series from Divin series
Palladium print & pure gold leaf on Japanese gampi Palladium print & pure gold leaf on Japanese gampi
30x30 cm 40x32 cm
Unique edition of 7 prints + AP Unique edition of 7 prints + AP

34 | ZOOM
ZOOM | 35
 Microcosmus Marinus 2010
from Divin series
Palladium print & pure gold leaf on Japanese gampi
40x27 cm
Unique edition of 7 prints + AP

36 | ZOOM
 Calla 2010
from Divin series
Palladium print & pure gold leaf on Japanese gampi
40x32 cm
Unique edition of 7 prints + AP

ZOOM | 37
Ti deÀnisci un “alchimista”. Perché?
/RGLFRVHPSUHVWUL]]DQGRO·RFFKLR0H
lo disse qualcuno un giorno e penso che
DOFKLPLVWDVLDXQ·RWWLPDGHVFUL]LRQHSHUTXHOOL
che, come me, amano creare un’immagine da
PDWHULHJUH]]HHPHWDOOLSUH]LRVLDWWUDYHUVR
UHD]LRQLFKLPLFKHËVHPSOLFHPHQWH
affascinante e magico.
Ci sono due step nel mio modo di lavorare:
ODIRWRJUDÀDHODVWDPSDFLRqODFDWWXUD
GHOO·LPPDJLQHHPDWHULDOL]]D]LRQHVXFDUWD
RDOWULVXSSRUWL/DIRWRJUDÀDHODVWDPSD
RIIURQRPROWLVVLPHSRVVLELOLWjVROX]LRQL
diverse per creare l’atmosfera voluta e uno
stato d’animo; quindi mi piace tenerli separati
DQFKHVHSLDQLÀFRHQWUDPELLQDQWLFLSR
&RPLQFLDPRGDOODIRWRJUDÀDGDOOD
VFHOWDGHOVRJJHWWRDOODFRPSRVL]LRQHH
DOO·LOOXPLQD]LRQH
La mia è slow photography, mi prendo tutto
il tempo che mi serve con la fotocamera
su treppiede e lentamente costruisco la
FRPSRVL]LRQH3UHGLOLJRODOXFHQDWXUDOH
PDVHSURSULRQRQFHQ·qXVRGHLÁDVKSHU
FRVWUXLUHO·LOOXPLQD]LRQHOHQWDPHQWHHUHQGHUH
la loro luce il meno invadente possibile. Per la
scelta dei soggetti, non ho preconcetti, devono
semplicemente “parlarmi”.

Veniamo ora alla stampa. Negli ultimi

quindici anni hai esplorato tutti i tipi
di materiali e antiche tecniche -con una
predilezione per le incisioni da negativi
su vetro, e le stampe al platino- e in
particolare hai scoperto la carta giapponese
Gampi e le foglie d’oro puro con le quali
hai realizzato la tua serie Divin. Come si
svolge il procedimento?
Ho sviluppato la mia tecnica nel corso di
FLQTXHDQQL/DSDUWHSLGLIÀFLOHqQRQIDU
percepire la carta come se la stampa fosse
stata fatta direttamente sulla foglia d’oro. Ho
dovuto sperimentare molte carte e diverse
tecniche per trattarle in modo da montare
OHIRJOLHG·RUR/HVWDPSHVRQRUHDOL]]DWH
su fogli sottilissimi da 10 grammi di carta
*DPSLXQDYHUDVÀGDGDWHOHGLIÀFROWj
considerando la fragilità della carta nel
processo.
Quando le stampe sono asciutte stendo
strati molto sottili di vernice nel corso
di diversi giorni, usando una vernice
FRQVHUYDWLYDGLPLDIRUPXOD]LRQH/·RUR
viene quindi applicato attraverso la parte
posteriore della stampa, un processo che
richiede diversi giorni, anche settimane. Nel
corso del processo possono accadere molti
inconvenienti. Il tasso di errore è piuttosto
HOHYDWRPDOHVWDPSHFKHRWWHQJRJLXVWLÀFDQR
LPLHLVIRU]L

Dove ti procuri questi materiali?

Ho diverse fonti in diversi paesi. Una buona
FDUWD*DPSLqSUREDELOPHQWHODSLGLIÀFLOH
da trovare, poiché è fatta a mano in piccoli

38 | ZOOM
 TXDQWLWDWLYL/DUHDOL]]D]LRQHGL*DPSL
richiede una vera arte e un foglio di Gampi
può essere un’opera d’arte a sé stante.
3HUOHVWDPSHFKLQHFROOpDWWXDOPHQWHODYRUR
con una carta fatta a mano a Berlino dal noto
Gangolf Ulbricht. Tuttavia, ho acquistato
O·XOWLPDSDUWLWDHGRYUzDVSHWWDUHÀQRDO
SURVVLPRDQQRSHUXQ·DOWUDSURGX]LRQH
Quindi sono sempre alla ricerca di nuove
carte e idee.
La serie Flowers still life KDGXHHGL]LRQLXQD
FRPSUHQGHVWDPSHDOSODWLQRSDOODGLR[
All images © Gilles Lorin
Represented by:
Kunsthandel Jörg Maaß, Berlin Germany (on show through December 21st, 2018)
Galerie Daltra, Megève, France (on show in Geneva through December 10th, 2018)
Valeria Bella Stampe, Milan, Italy
FPHO·DOWUDVWDPSH&KLQHFROOpDOSODWLQR
palladio (50x40 cm), entrambe su carta
Gampi giapponese fatta a mano.
Quale differenza c’è tra le due tecniche di
stampa?
9ROHYRWUDVPHWWHUHXQDVHQVD]LRQHGLYHUVD
a seconda delle dimensioni, quindi ho
stampato con due tecniche differenti. Le
stampe piccole sono più informali e lasciano
che la carta Gampi si esprima attraverso le
VXHLPSHUIH]LRQLFRQXQDSSURFFLR´ZDEL
sabi” come dicono in Giappone, cioè
GHOO·LPSHUIH]LRQH
/HVWDPSHSLJUDQGLFKHVRQR&KLQHFROOp
XQDWHFQLFDWUDGL]LRQDOHSHUFRPELQDUH
ODFDUWD*DPSLFRQODFDUWDGDDFTXHUHOOR
sono più formali con un approccio di tipo
occidentale.
In entrambi i casi il valore della stampa è
elevato, qual è il range di prezzo?
Tra i 1,500 e i 3,000 euro. Il costo dei
materiali è piuttosto alto: sia il platino che il
palladio sono metalli costosi, la carta Gampi
qYHQGXWDDFLQTXHYROWHLOSUH]]RGHOODFDUWD
da acquerello occidentale e la stampa richiede
molto tempo per essere lavorata, così come le
foglie d’oro. I risultati però sono sorprendenti.
E’ stata la grande esperienza londinese da
Christie’s come specialista a tempo pieno
nell’arte giapponese ad arricchire la tua
cultura? Cosa ti affascina di quest’arte
orientale?
(·XQDGRPDQGDGLIÀFLOHHSHUULVSRQGHUH
dovrei entrare nei dettagli e parlare di
DUJRPHQWLVSHFLÀFLFRQVLGHUDQGRJOLROWUH
due millenni di storia. Nel complesso ritengo
TXHVWDFXOWXUDHÀORVRÀDDIIDVFLQDQWLHXQLFKH
e ai giapponesi riconosco un senso estetico,
XQDPDHVWULDHXQLPSHJQRVHQ]DHJXDOL
/·HVSHULHQ]DORQGLQHVHPLKDSHUPHVVRGL
avvicinarmi a una quantità incredibile di
opere d’arte, di approfondire i miei studi
e di incontrare altri specialisti, oltre che di
conoscere colei che è diventata mia moglie,
Jana, specialista in stampe.
Presenterai nuovi lavori l’anno prossimo?
Sì, due, che la galleria di Berlino Jörg Maaß
Kunsthandel mostrerà all’AIPAD di New
York ad aprile.
ZOOM | 39
YUVAL YAIRI
ISRAEL
yuvalyairi.com

Do you Ànd the art of photography to be

therapeutic?
I believe that creative activities in general have a
KHDOLQJHIIHFWRQRXUPHQWDOZHOOEHLQJ)URPP\
own experience, art helped me to come to terms with
PHQWDOO\XQVROYHGSDVWHYHQWV
,QP\ÀUVWDXWRELRJUDSKLFDOZRUNHQWLWOHGThe Savoy
(2009), I created a series of images describing an
imaginary space—a simple hotel room with a nude
woman posing on a bed, with some elements which
evoked an event in the past that had left a deep mark
in me: a terror attack on the Savoy hotel in Tel Aviv
(1975) where my father was killed during an attempt to
rescue the hostages held in the building.

Your second personal work is Surveyor, how was this

title born?
7KH´6XUYH\RUµFDQEHGHVFULEHGDVP\VHPLÀFWLRQDO
DOWHUHJR7KLVFKDUDFWHUZDVERUQZKHQ,GHFLGHGWR
UHODWHSHULRGVDQGHYHQWVLQP\OLIHZKLFKZHUHGLIÀFXOW
for me to deal with, mainly during my military service
in the IDF (Israel Defence Forces), where I served as an
DHULDOVFRXWGXULQJWKHÀUVW/HEDQRQ:DULQ7KHVH
events left a deep and traumatic impression on me, but
I can’t comment on them freely. The Surveyor holds
the key and access to my subconscious and to repressed
places in my memory. From there he extracts images,
sounds, smells and emotions and helps me process and
convert them into an encrypted and symbolic language.

What is the source of objects on the set and how did

you approach the composition of these photographs?
They are mainly found objects, tools which I collect
and simple devices that I build. The viewer can freely
decipher them. The photographs from the Surveyor
series were created using different techniques:
Surveyor and Topographic Study are constructed
from numerous photos composed into a grid and
were created in natural light conditions; No-Fly Zone,
Surprise Egg and ClampDUHVLQJOHIUDPHSKRWRJUDSKV
DQGFUHDWHGLQP\VWXGLRXVLQJDUWLÀFLDOOLJKW

What are you looking to transmit to viewers?

I wish to arouse the viewers’ curiosity and bring them
to try to decode the hidden meanings of the objects
or actions shown in the photographs, interpreting my
works according to their perception.

Future projects?
I have started to work on the next chapter of Surveyor
which I’m planning to continue over the course of
2019. Once again, I’m developing various symbols
and using similar processes, but this time exploring
other conversations and themes. I recently completed
WKHÀUVWZRUNLQWKLVVHULHVHQWLWOHGCypher of the
Cypress Tree7\SLFDOO\WKHF\SUHVVWUHHKDVWKHFRQH
shape of a plummet—a simple measuring tool which
was dominant in previous works. The tree resembles
this shape but upside down, it is rooted in the earth
pointing towards the sky, affected by its environmental
conditions.

40 | ZOOM
 Surveyor

ZOOM | 41
Cypher of Cypress Tree

42 | ZOOM
Topographic Study

ZOOM | 43
Clamp

L’arte della fotograÀa è terapeutica per te?
Ritengo che le attività creative in generale
abbiano un effetto terapeutico per il nostro
benessere mentale.
Per quanto mi riguarda l’arte mi ha aiutato
DIDUHLFRQWLFRQHVSHULHQ]HSHUVRQDOLGHO
passato rimaste irrisolte.
1HOPLRSULPRODYRURDXWRELRJUDÀFRLQWLWRODWR
che mi ha segnato: un attacco terroristico
all’Hotel Savoy di Tel Aviv nel 1975 durante
il quale mio padre è stato ucciso mentre
tentava di salvare degli ostaggi all’interno
della struttura.
Il tuo secondo lavoro personale è Surveyor,
da dove viene questo titolo?
)RU]HGLGLIHVDLVUDHOLDQHGRYHHURLQ
VHUYL]LRGXUDQWHODSULPDJXHUUDGHO/LEDQR
nel 1982. Questi eventi mi hanno segnato
profondamente, ma non riesco a parlarne
liberamente. Il surveyor invece detiene la
chiave di accesso al mio subconscio e ai
luoghi repressi nella mia memoria. Da qui
HVWUDHLPPDJLQLVXRQLRGRULHGHPR]LRQL
The SavoyKRUHDOL]]DWRXQDVHULH
GLLPPDJLQLFKHGHVFULYRQRXQRVSD]LR
immaginario, una semplice camera d’albergo
con una donna nuda che posa su un letto con
elementi che richiamano un evento passato
44 | ZOOM
,OVXUYH\RUqLOPLRDOWHUHJRVHPL e mi aiuta a elaborarli e a convertirli in un
immaginario. Questo personaggio è nato linguaggio simbolico.
quando ho deciso di raccontare momenti della
PLDYLWDGLIÀFLOLGDDIIURQWDUHVRSUDWWXWWR
GXUDQWHLOPLRVHUYL]LRPLOLWDUHQHOO·,')

Da dove provengono gli oggetti del set e
come hai lavorato alla composizione di
queste fotograÀe?
Sono principalmente oggetti che trovo,
strumenti che raccolgo o semplici dispositivi
che costruisco, e che gli spettatori possono
interpretare liberamente.
&LDVFXQDIRWRJUDÀDGHOODVHULHSurveyor
è costruita usando tecniche differenti:
per esempio Surveyor and Topographic
Study, VRQRLOULVXOWDWRGLGLYHUVHIRWRJUDÀH
composte in una griglia e scattate in luce
naturale. No-Fly Zone, Surprise Edd e Clamp
sono singoli scatti eseguiti in studio con luce
DUWLÀFLDOH
Cosa desideri trasmettere agli spettatori?
Desidero suscitare curiosità nell’osservatore
HSRUWDUORDGHFRGLÀFDUHLVLJQLÀFDWLQDVFRVWL
GHJOLRJJHWWLRGHOOHD]LRQLPRVWUDWLQHOOH
IRWRJUDÀHLQWHUSUHWDQGRLOPLRODYRUR
VHFRQGRODSURSULDSHUFH]LRQH
Quali progetti hai per il futuro?
+RJLjLQL]LDWRDODYRUDUHDOSURVVLPRFDSLWROR
di Surveyor che continuerò durante il 2019.
Surprise Egg
All images © Yuval Yairi
Sto ancora una volta sviluppando simboli e
XWLOL]]DQGRSURFHVVLPHQWDOLVLPLOLHVSORUDQGR
DOWUHUHOD]LRQL
Da poco ho completato il primo lavoro di
questa nuova serie, intitolata Cypher of the
Cypress Tree: il cipresso nel suo aspetto
tipico ha la forma a cono di un piombino,
quel semplice strumento di misura che è tanto
presente nelle mie opere precedenti. L’albero
ha questa forma, ma è capovolto: ha le radici
nella terra e punta verso il cielo, secondo le
FRQGL]LRQLDPELHQWDOL
ZOOM | 45
PAULETTE TAVORMINA
USA
paulettetavormina.com
Botanical VII, Tulips, 2013
When can a still life shot can be considered
a Àne art work?
,EHOLHYHWKDWLQÀQHDUWDOOGHSHQGVRQWKH
aesthetic, beauty and meaningfulness of the
ÀQDOYLVXDOQRWRQWKHPHGLXPWKDWLVXVHG
Your compositions show incredible care.
How do you approach creating your
works?
I sometimes draw the image of what I have
in my mind. Then I spend copious hours
placing all the elements on the set, and study
46 | ZOOM
each and how they interact with each other.
Each element must relate to the object next
to it, the colors and the shapes must all marry
together and, when all are in harmony, the
image comes to life. I am fascinated by still
life paintings from the 17th century; I spend a
lot of time in museums and purchasing books
of this genre of paintings.
The dramatic lighting also shows an
exceptionally high-quality use of technique.
What photographic equipment do you use?
Working in this type of photography, I very
HDUO\UHDOL]HGWKDW,QHHGHGWRXVHVWUREH
lights and could not depend on natural light
since it changes and I usually photograph into
the night. I now use a Hasselblad medium
format camera so I can print large images up
to 52x52 inches without losing resolution and
quality.
Where do you Ànd the natural Áora and
fauna elements of your photographs?
,ORYHÁRZHUV,JRWRWKHPDUNHWLQ1HZ<RUN

City which has everything, from beautiful
URVHVWRPLQLDWXUHSRPHJUDQDWHVDQGÀJVRQ
branches and lemons with leaves, etc. I also
have a garden where I harvest peonies, roses
and collect moss and insects as well.
You received the Pollack-Krasner
Foundation Award in 2016 and
your photographs are well-known all over
the Àne art world but you also work on
commission for clients.
Do they contact you speciÀcally because of
Botanical III, Bleeding, Hearts and Magnolias, 2013
your personal style?
Yes, in the case of National Geographic, they
asked me to shoot with my “Old Master”
GUDPDIRUWKHLUPDJD]LQHIRUDVWRU\DERXW
how long it takes for produce to travel from
around the world to our markets in New York
City. They loved the result and it became a
SDJHVSUHDGDQGRQHRIWKRVHVKRWVKDVQRZ
EHFRPHDÀQHDUWLPDJHHQWLWOHGCornucopia,
201. My romantic Old Master style was been
used also for the cookbook of the starred Del
Posto restaurant of chef Mark Ladner.
Are you creating new works?
I just photographed two new bird images
for my Flowers, Fish, Bird and Fantasies
VHULHVRQVKRZDW5REHUW0DQQ*DOOHU\
through December 22nd. For 2019, I will be
continuing my Bird series and will be creating
a new series that I have been collecting and
researching.
ZOOM | 47
48 | ZOOM
 “I’M IN LOVE WITH THE OLD MASTERS, TOTALLY FASCINATED WITH
THEM, BUT I CREATE MY OWN PERSONAL STORY WITHIN EACH WORK.
THE THEMES ARE SO UNIVERSAL -LOVE, LOSS, DEATH- SO IT IS ALL
PRETTY SIMPLE.”
Paulte Tavormina

Previous page: Figs after GF, 2009 Banquet, 2017

ZOOM | 49
Cornucopia, 2014
Italian Plums After G.G., 2015

ZOOM | 51
Concert of Birds, 2018
Quando un’immagine di still life può essere
considerato un’opera Àne art?
Ritengo che tutto dipenda dall’estetica, dalla
EHOOH]]DHGDOODULFFKH]]DGLVLJQLÀFDWR
GHOO·LPPDJLQHÀQDOHQRQGDOPHGLXP
XWLOL]]DWR
Le tue composizioni mostrano una cura
incredibile, come le realizzi?
A volte faccio un disegno di ciò che ho in
PHQWH3RLGHGLFRPROWHRUHDSRVL]LRQDUH
tutti gli elementi sul set, li studio attentamente
52 | ZOOM
e osservo come interagiscono tra di loro.
2JQLRJJHWWRGHYHHVVHUHLQUHOD]LRQHDTXHOOR
accanto, forme e colori devono sposarsi
bene insieme e, quando tutto è in armonia,
O·LPPDJLQHSUHQGHYLWD7UDJJRLVSLUD]LRQH
dai dipinti di natura morta del 17° secolo,
visitando i musei e acquistando libri che
contengono questo genere di quadri.
Come nelle nature morte di questi quadri
la tua illuminazione è drammatica; quali
tecniche e attrezzature usi?
/DYRUDQGRDTXHVWRJHQHUHGLIRWRJUDÀD
EHQSUHVWRKRUHDOL]]DWRFKHGRYHYRODYRUDUH
FRQOXFLÁDVKSHUFKpODOXFHQDWXUDOHQRQq
controllabile;inoltre di solito fotografo di
notte. Come fotocamera attualmente uso una
Hasselblad medio formato che mi consente di
VWDPSDUHLQJUDQGLGLPHQVLRQLÀQRD[
FPVHQ]DSHUGHUHULVROX]LRQHHTXDOLWj
dell’immagine.

Dove trovi gli elementi naturali delle
tue fotograÀe? Sono molto belli e
ricercatissimi…
$PRLÀRULPHOLSURFXURDOPHUFDWRGL1HZ
York dove c’è di tutto, dalle rose ai melograni
LQPLQLDWXUDDLÀFKLDQFRUDVXLUDPLDL
limoni con le foglie. Ho anche un giardino
dove coltivo le peonie, le rose e il muschio, e
trovo lì anche gli insetti.
Hai vinto il Pollack-Krasner Foundation
Award nel 2016 e le tue fotograÀe sono
All images © Paulette Tavormina Courtesy Robert Mann Gallery
On show at Robert Mann Gallery New York - “Paulette Tavormina: A Concert of Birds” - through December 22, 2018
conosciute in tutto il mondo della Àne art,
ma lavori anche su commissione per alcuni
clienti. Ti contattano proprio per il tuo stile
personale?
Sì, nel caso di National Geographic sono stata
contattata per il mio stile “old master” per
UHDOL]]DUHXQDVWRULDFKHPRVWUDVVHTXDQWR
tempo i prodotti dal mondo impiegano per
arrivare ai nostri mercati newyorkesi. Il
risultato è piaciuto, gli hanno dedicato 4
SDJLQHHXQDIRWRJUDÀDqGLYHQWDWDXQDPLD
VWDPSDÀQHDUWLQWLWRODWDCornucopia, 201.
Expectations, 2017
Represented by:
Robert Mann Gallery, New York, USA
Robert Klein Gallery, Boston, USA
Holden Luntz Gallery, Palm Beach, USA
Heather James, Palm Desert, USA
March, San Francisco, USA
Huxley-Parlour Gallery, London, UK
Photographica Fine Art, Lugano , Switzerland
New book: Seizing Beauty by The Monacelli Press
Hanno voluto il mio stile anche per il libro
di cucina dello chef Mark Ladner per il suo
celebre ristorante stellato Del Posto.
Stai creando nuove opere?
+RDSSHQDFRPSOHWDWRGXHQXRYHIRWRJUDÀH
di uccelli per la serie Flowers, Fish, Bird and
fantasies FKHqLQPRVWUDÀQRDOGLFHPEUH
alla Robert Mann Gallery di New York. Nel
2019 continuerò a lavorare alla serie Bird e
a un nuovo lavoro per il quale ho raccolto e
FROOH]LRQDWRPDWHULDOH
ZOOM | 53
PALOMA RINCÓN
MEXICO
palomarincon.com
After Sex
from Sex for Breakfast series
Yours is a dynamic and lively style, where
do you Ànd inspiration?
,ÀQGLQVSLUDWLRQLQDUWDQGGHVLJQEXW
also from many everyday things. I love
discovering and experimenting with materials
and different textures, and I also love the
colors and lines of the natural world and how
the light shapes objects.
To be a successful commercial
photographer, how important is it to have
your own personal style?
Developing your own personal style is a
way of growing creatively and remaining
motivated. For me, it allows me to “have my
54 | ZOOM
voice be heard” and receive commissions that
are adapted to my style and what I like to do.
There are so many talented creatives today,
having your own personal approach brings
you visibility.
From major clients to your own “personal”
works—how important for you is to free
your creativity and your ideas?
When I work for a client there´s not much
margin to experiment and I have to move with
FDXWLRQWRREWDLQDÀQDOUHVXOWWKDWVDWLVÀHV
their request. So, I have my creative needs
and I explore new techniques and arts in my
personal works, that in turn are a source of
inspiration for clients. It’s my way of being
able to focus my career in the direction I
want.
Can you say something more about your
concept, the “creativity of a craftsman”?
My work needs a lot of manual skills to
FUHDWHPRGLI\WKHREMHFWVDQGSHUVRQDOL]H
them for the picture. There´s something about
WKHXQLTXHQHVVRIKDQGFUDIWHGREMHFWVDQG
the beauty of the imperfection that I love. To
JHWKDQGVRQGHYHORSLQJWKLQJVFDQUHVXOWLQ
many unexpected discoveries and results.

You play with colors, shapes and harmony
of lines. How do you compose the image on
the set?
As I don´t take pictures of existing situations,
WKHSUHSURGXFWLRQSDUWLVYHU\LPSRUWDQW
Most times I sketch before to have an idea of
where I´m going.
Playing around with color and developing
color palettes is another decision that has
to be made prior to the shoot. As I need to
have everything I will need before I shoot,
this is a part of the process is very important.
Sometimes we have to build parts of it and
have to be very precise ordering pieces of
VSHFLÀFVL]HV
This series is a co-owned project realized In collaboration with Pablo Alieri.
So, do you assemble elements in post-
production?
Yes, although I try to get as much as I can
IURPWKHUHDOVKRRWWKHUHVDOZD\VSRVW
production involved. Even if there´s digital
composition at the end I shoot the elements
in the set to obtain the most realistic effect
possible.
I work a lot with clients so I need to be
covered on some options.
I work with a PhaseOne camera, I have
ÁDVKOLJKWVDQGFRQWLQXRXVOLJKWDQGDORWRI
props and colored backgrounds and materials
I´ve gathered through my different projects.
Just for Myself
from Sex for Breakfast series
Who prints your photographs?
,ZRUNZLWKDVWXGLRWKDWGRHVÀQHDUWSULQWLQJ
for galleries and museums and has the best
quality from my point of view. I choose Fine
Art Gliceé Print that uses superior inks. The
colors of my images are not easily reproduced
and I´ve found the paper and printing process
that works the best for the brightness and
saturation of the original image. As I use
KLJKHQGHTXLSPHQWDOOWKHZD\WKURXJK
P\SURFHVV,QHHGP\SULQWVWRÀWWKRVH
standards, too.
ZOOM | 55
 Delighted breakfast
from Sex for Breakfast series

56 | ZOOM
 The Temptation
from Sex for Breakfast series

ZOOM | 57
Freezing Flowers 04

58 | ZOOM
Broken Heart

ZOOM | 59
Sweet Style 03
Il tuo stile è vivace e dinamico, dove cogli
l’ispirazione?
Nell’arte e nel design, ma anche negli oggetti
di tutti i giorni. Amo scoprire e sperimentare
nuovi materiali e le diverse texture, mi
piacciono i colori e le linee del mondo
naturale e osservare come la luce modella gli
oggetti.
Per un fotografo commerciale, quanto è
importante avere uno stile personale?
Sviluppare il proprio stile è un modo per
crescere creativamente e mantenersi motivati.
Per me è un modo di “far sentire la mia voce”
e ricevere commissioni che si adattino al
mio stile e a ciò che mi piace fare. Ci sono
così tanti creativi di talento oggi! Solo un
60 | ZOOM
approccio personale porta alla visibilità.
Dai clienti importanti ai tuoi “Personal”
works, quanto senti il bisogno di liberare la
tua creatività e le tue idee?
Quando lavoro per un cliente non c’è molto
VSD]LRSHUVSHULPHQWDUHHGHYRPXRYHUPLLQ
modo sicuro per ottenere un risultato che lo
VRGGLVÀ4XLQGLVRGGLVIRODPLDFUHDWLYLWjQHL
miei lavori personali, esplorando anche nuove
tecniche, e queste ricerche sono anche fonte
GLLVSLUD]LRQHSHULODYRULFRPPHUFLDOL(·XQ
PRGRSHUFDUDWWHUL]]DUHODPLDSURIHVVLRQH
DeÀnisci la tua ricerca “creatività da
artigiano”, spiegati meglio…
Il mio lavoro necessita di manualità per creare
RPRGLÀFDUHJOLRJJHWWLHSHUVRQDOL]]DUOL
SHUO·LPPDJLQHFKHLQWHQGRUHDOL]]DUH
C’è unicità negli oggetti fatti a mano e la
EHOOH]]DGHOO·LPSHUIH]LRQHFKHDPR$QFKHLO
SURFHGLPHQWRDQDORJLFRGHOODIRWRJUDÀDqXQ
grande parco giochi per la creatività. Quando
si mette mano allo sviluppo possono nascere
scoperte e arrivare a risultati inaspettati.
Giochi con colori, forme e armonia delle
linee, come componi l’immagine sul set?
'DWRFKHQRQIDFFLRIRWRJUDÀHGLVLWXD]LRQL
UHDOLODSDUWHGLSUHSURGX]LRQHqPROWR
importante. La maggior parte delle volte
disegno uno schema per avere un’idea di
dove sto andando. Anche i giochi di colore
VRQRXQDVSHWWRFKHGHÀQLVFRDSULRUL8Q

passaggio importante è disporre di tutto ciò di
FXLKRELVRJQRSULPDGLLQL]LDUHOHULSUHVHD
volte quindi devo costruire qualcosa, a volte
RUGLQDUHSH]]LFRQGHWHUPLQDWHGLPHQVLRQL«
La fase di post-produzione è importante
per la costruzione dell’immagine?
Sì, anche se la maggior parte del lavoro la
faccio in ripresa. Anche dando per scontata
ODFRPSRVL]LRQHGLJLWDOHGLYDULHOHPHQWL
QHOOHIRWRJUDÀHFHUFRGLRWWHQHUHO·HIIHWWRSL
realistico possibile. Sotto l’aspetto tecnico
KRODQHFHVVLWjGLVWUXPHQWLPROWRDIÀGDELOL
6FDWWRFRQ3KDVH2QHXVDQGROXFLÁDVKHOXFH
continua; nel mio studio ho tantissimi oggetti
di scena, fondali di ogni colore e materiali che
KRFROOH]LRQDWRQHOFRUVRGHLYDULSURJHWWL
Sweet Style 01
Chi stampa le tue fotograÀe? All images © Paloma Rincón
Lavoro con uno studio che produce stampe Represented by:
artistiche per gallerie e musei. Scelgo sempre The Mushroom Co., Spain
Common Era, UK
la stampa Art Gliceé che usa inchiostri di The House of Food and Photo, Scandinavia
qualità superiore. I colori delle mie immagini Tafetas, France
non sono facilmente riproducibili e ho trovato
la carta e il processo di stampa che rende
DOPHJOLRODOXPLQRVLWjHODVDWXUD]LRQH
dell’immagine. In tutto il mio processo
XWLOL]]RDWWUH]]DWXUHGLDOWDTXDOLWjSHUFXL
anche le stampe devono soddisfare questi
requisiti.
ZOOM | 61
EXHIBITION | ORI GERSHT AT YANCEY RICHARDSON GALLERY
origersht.com

PARIS PHOTO 2018 (NOVEMBER 8-11)

UNTITLED MIAMI 2018 (DECEMBER 5-9)

New Orders, Evertime 06,2018

The Yancey Richardson Gallery presents
Fragile Land, the new body of work by
/RQGRQEDVHG,VUDHOLDUWLVW2UL*HUVKWWKH
photographs of this series are an ongoing
project in which the endangered, native
ÁRZHUVRI,VUDHOVHUYHDVDYHKLFOHWR
investigate ideology and the mythological
narratives surrounding the concept of
homeland.
During author’s childhood, in Israel, it was
common practice to visit the countryside and
FROOHFWZKDWZHUHUHIHUUHGWRDVWKH´ÁRZHUV
of Israel”.
Considered the symbol of the connection
between the Jewish people and their land,
WKHVHÁRZHUVZHUHFROOHFWHGWRWKHSRLQWRI
QHDUH[WLQFWLRQ)RUFragile Land, Gersht
procured and cultivated specimens, including
cyclamen, Iris Atropurpurea, and the
Madonna lily, then, in a highly choreographed
VWXGLRVHVVLRQKHH[SORGHGHDFKÁRZHULQJ
SODQWZLWKDEXOOHWÀUHGIURPDFXVWRPL]HGDLU
ULÁH
8VLQJDQ[FDPHUDZLWK3RODURLGÀOP
DQGDKLJKUHVROXWLRQGLJLWDOFDPHUDWR
capture the action simultaneously, Gersht has
captured the two different realities, one that

62 | ZOOM

exceeds the capability of human vision and
the other that evokes the dreamlike quality of
a memory.
As in many of his previous projects, Gersht
has used the genre of still life to explore
the fragile nature of existence and the
duality between what is enduring and what
LVPRPHQWDU\7KHVHULHVUHDOL]HGZLWK
Polaroid was commissioned by the Shenkar
Engineering Design. Art in collaboration with
Polaroid original.
EverytimeWKHÀUVWFKDSWHURIWKHQHZVHULHV
titled New 2rdersUHIHUHQFHVWKHIUDJLOLW\
and fragmentation of the European Union
inspired by the work of Italian mid 20th
century painter Giorgio Morandi, and by the
painters Chardin and Zurbarán and Morandi.
Iris Atropurpurea D01, 2018
These sequences of images relay a cinematic
unfolding of destruction and collapse not
otherwise visible in our normal experience of
events.
These new works are exposed by the Yancey
Richardson Gallery at Paris Photo 2018 and
Untitled Miami.
ZOOM | 63
 Lylium Candidum 02P, 2018

64 | ZOOM
Cyclamen 03P, 2018

ZOOM | 65
New Orders, Evertime 01,2018

66 | ZOOM
New Orders, Evertime 02,2018

ZOOM | 67
New Orders, Evertime 07,2018
La Yancey Richardson Gallery presenta
Fragile Land, il nuovo corpo di lavoro
GHOO·DUWLVWDLVUDHOLDQR2UL*HUVKWOHIRWRJUDÀH
di questa serie sono un progetto in corso,
LQFXLLÀRULQDWLYLLQYLDGLHVWLQ]LRQHGL
Israele rappresentati servono come veicolo
SHULQGDJDUHO·LGHRORJLDHOHQDUUD]LRQL
mitologiche che circondano il concetto di
SDWULD'XUDQWHO·LQIDQ]LDGL*HUVKWLQ,VUDHOH
era prassi comune visitare le campagne
HUDFFRJOLHUHTXHOOLFKHYHQLYDQRGHÀQLWL
L´ÀRULG·,VUDHOHµ&RQVLGHUDWLLOVLPEROR
della connessione tra il popolo ebraico e la
ORURWHUUDTXHVWLÀRULIXURQRUDFFROWLÀQR
DOO·HVWLQ]LRQH3HUFragile Land, Gersht
ha procurato e coltivato diversi esemplari,
tra cui il ciclamino, l’Iris Atropurpurea e il
68 | ZOOM
Giglio della Madonna e poi, in una sessione
di studio altamente coreografata, Gersht ha
fatto esplodere ogni pianta con un proiettile
VSDUDWRGDXQIXFLOHDGDULDSHUVRQDOL]]DWR
8WLOL]]DQGRXQDIRWRFDPHUD[FRQ
pellicola Polaroid e una fotocamera digitale
DGDOWDULVROX]LRQHSHUFDWWXUDUHO·D]LRQHLQ
simultanea, Gersht ha catturato così le due
diverse realtà, una che supera la capacità della
visione umana e l’altra che evoca la qualità
onirica del ricordo.
Così come in molti dei suoi progetti
SUHFHGHQWLDQFKHLQTXHVWHIRWRJUDÀH*HUVKW
KDXWLOL]]DWRLOJHQHUHGHOORVWLOOOLIHSHU
HVSORUDUHODIUDJLOHQDWXUDGHOO·HVLVWHQ]DHOD
dualità di ciò che è duraturo e di ciò che è
IXJDFH/DVHULHUHDOL]]DWDFRQOH3RODURLGq
stata commissionata dal Shenkar Engineering
'HVLJQ$UWLQFROODERUD]LRQHFRQ3RODURLG
original.
EvertimeLOSULPRFDSLWRORGHOODQXRYD
serie New 2rdersULFKLDPDODIUDJLOLWjHOD
IUDPPHQWD]LRQHGHOO·8QLRQH(XURSHDHVL
inspira all’opera del pittore italiano della
metà del ventesimo secolo Giorgio Morandi,
HDLSLWWRUL&KDUGLQH=XUEDUiQ/HVHTXHQ]H
di immagini trasmettono un cinematico
GLVSLHJDUVLGLGLVWUX]LRQHHFROODVVRFKH
altrimenti non potremmo vedere.
Questi nuovi lavori sono esposti dalla Yancey
Richardson Gallery al Paris Photo 2018 e
Untitled Miami.
New Order 01, Untitled 01,2018
New Order 01, Untitled 02,2018
New Order 01, Untitled 03,2018
BIOGRAPHY
Israeli photographer and video artist Ori
Gersht creates bodies of work that often
poetically explore the relationships between
history, memory, and landscape. Through
metaphor, Gersht illuminates the diiculties
of visually representing conflict and violent
events or histories. Themes such as Dutch
still life painting, romantic landscapes, and
Nazi-occupied territory escape routes in
the Pyrenees are steeped in Gersht’s bodies
of work. Gersht’s imagery is uncannily
beautiful; the viewer is visually seduced
before being confronted with darker
and more complex themes, presenting a
compulsive tension between beauty and
violence. This has included an exploration
of his own family’s experiences during
the Holocaust, a series of post-conflict
landscapes in Bosnia and a celebrated
trilogy of slow-motion ilms in which
traditional still lives explode on screen.
He approaches these topics not simply
through his choice of imagery, but by
pushing the technical limitations of
photography, questioning its claim to truth.
Gersht is perhaps best known for his work
with slow-motion capture, wherein he
produces images and video portraying fruits,
flowers, and other material fracturing when
stuck with high velocity gunire.
Born in Tel Aviv, Israel in 1967, he earned his
MFA in photography from the Royal College
of Art in London, later gaining critical
success with an exhibition at the Museum
of Fine Arts in Boston and a professorship
at the University for the Creative Arts in
Rochester in Kent, England.
Gersht’s works have been in numerous
major institutions including the
Guggenheim, New York; the Hirshorn
Museum, Washington D.C.; Bass Museum of
Art, Miami; the J. Paul Getty Museum, Los
Angeles; and the Victoria & Albert Museum,
London, among many others.
All images ©Ori Gersht
2018, Archival pigment print
Courtesy of the artist and Yancey Richardson Gallery
Represented by
Yancey Richardson Gallery, New York, USA
Ben Brown Fine Arts, London, UK & Hong Kong
Kohn Gallery, Los Angles, USA
Talley Dunn Gallery, Dallas, USA
Noga Gallery of Contemporary Art, Tel-Aviv, Israel
Brand New Gallery, Milan, Italy
ZOOM | 69
MONICA STEVENSON
USA
monicastevensonphotography.com
Hunt for One
What fascinates you about the art of still
life?
More than anything, I really enjoy making
pictures, and not just taking pictures. I like
conceiving and formulating ideas, and then,
by using props, surfaces, backgrounds and
lighting, bringing these concepts to fruition.
I’m inspired by so many different métiers—
FHUDPLFVÁRUDODUUDQJLQJFRRNLQJOLTXLG
dynamics, smoke, physics, explosives, sewing,
woodworking—still life just seems like the
perfect photography discipline to employ these
genres.
I like to control all the details that go into
PDNLQJWKHÀQDOSLFWXUH,DPVRLQWKH]RQH
in my studio when I’m shooting either really
small things like diamonds or water splashes
for example, it is a welcome challenge for
me. I often leave a set up for days, and shoot
70 | ZOOM
repeatedly until I feel that the picture is just
about perfect.
However, you are very fond of equine
photography where you do not have total
control of the scene.
Photographing horses, especially the action
LPDJHVLQWKHÀHOGDQGVWDGLXPLVP\JUHDW
passion and horses are the subjects of my
personal works—a kind of photography
almost the exact opposite of studio still life.
But, I must admit, I focus on the details, as the
ÁLSRIDGUHVVDJHKRUVH·VKRRIWKHFXUYHRID
descending jumper’s tail, the glisten of water
RQVNLQDQGEORRGÀOOHGYHLQVWKHVHDUHWKH
things that make me want to take pictures. I’ve
EHHQKRUVHFUD]\DQGFDPHUDFUD]\VLQFH,
was little, I was drawing horse pictures to put
into that little envelope box “camera”. I was
like most young horse fanatics—I had horse
wallpaper, a horse bedspread, horse curtains
and school notebooks with “I love Ginger
(the horse) written all over them. I must have
driven my parents bonkers!
A long-time passion...where does it come
from?
I don’t know, but I remember my brother and
mother both took riding lessons when we lived
in Australia, and I remember watching them
and loving everything about it. Even now I
still remember being so curious about all the
accoutrements, like the brown leather jodhpur
ERRWVWKHÁHDELWWHQJUH\KLGHRIWKHKRUVH
DQGWKHROGIDVKLRQHGOHDWKHUKXQWEULGOH
7RGD\,OLYHLQDWRZQWKDWLVYHU\HTXHVWULDQ
oriented and I have a horse named Zoe. We
ULGHWLPHVSHUZHHNDQGZH·UHWUDLQLQJ
for the Grand Prix Dressage. Zoe lives like a
SDPSHUHGGLYDLQDDFUHGRQNH\DQGPLQL
horse rescue sanctuary farm, an utter paradise!
What do you want to transmit to viewers
with your equine photography?
The joy I feel when I spend time with my
horse, a joy that I strongly feel also observing
details such as the horse’s muscles, the
ZKRUORIKDLULWVWKHLUÁDQNVWKHDQJOHRILWV
hooves and the objects I use like the leather,
spurs, riding clothes, hay, wooden trunks and
racks—all these things can be photogenic
and gorgeous. The joy is a feeling that brings
peace, which brings happiness, which brings
creativity and brings good will.
How did you create the composition and
lighting for your Bits & Pieces series?
These images that portray hunting stills were
shot in my studio with various types of strobe
lighting and show a direct nod to William
Harnett and the trompe l·oeil painters. In
particular, the image with the orange fur piece
is my ode to the artist Helen Chadwick. The
bit images on the dark background were shot
in my natural light studio on deep brown
YHOYHW7KHVHHOHPHQWVDUHVRÀQHO\FUDIWHG
and are little pieces of art even before they get
in front of my camera!
Where is your personal studio located?
It’s a studio space that I love, in a building
called “The Mill Spring Agricultural Center”,
a refurbished elementary school built in the
PLGVDQGWRGD\ÀOOHGZLWKDUWLVWVVPDOO
businesses and agriculture concerns. My great
ZRUNLQJWHDPDQG,DUHRQWKHVHFRQGÁRRU
with a large bank of windows and the view
LVWKHÀHOGVDQGIRRWKLOOVRIZHVWHUQ1RUWK
Carolina. But I do my printing work in my
home—only a few minutes away—where I
have my Epson printer, large tables, viewing
lights, etc.
Making prints is one of the reasons I became
a photographer because, from my point of
YLHZRQO\WKHSULQWLVWKHÀQDOSURGXFWRIWKH
photographic process, and it all harks back
to the unforgettable moments spent with my
beloved father in his bathroom/darkroom.
 Hunt Appointment #1
from Bits & Pieces series

ZOOM | 71
72 | ZOOM
 Sensation
from Abstractions and Curves series

ZOOM | 73
 Orange Stirrups and Tail
from Bits & Pieces series

Orange Bits
from Bits & Pieces series

Hunt Appointments #2
from Bits & Pieces series

74 | ZOOM
 Bronzed
from Abstractions and Curves series

ZOOM | 75
Titanium Circles
from Bits & Pieces series

Leather and Crop #2

from Bits & Pieces series

76 | ZOOM
“IT’S A PROJECT, A CRAFT, A WORK OF ART.”
Monica Stevenson

Froth #1
from Abstractions and Curves series

ZOOM | 77
78 | ZOOM
 Cosa ti affascina dell’arte dello still life?
Più di ogni altra cosa, mi diverte molto
creare immagini e non solo scattarle. Mi
SLDFHFRQFHSLUHGHOOHLGHHHUHDOL]]DUOH
usando oggetti come modellini, sfondi e
LOOXPLQD]LRQH6RQRLVSLUDWDGDWDQWLGLYHUVL
PpWLHUVFHUDPLFKHDUUDQJLDPHQWLÁRUHDOL
arte del cucinare, dinamiche dei liquidi, del
IXPRGHOODÀVLFDHVSORVLYLDUWHGHOFXFLWR
HODYRUD]LRQHGHOOHJQRORVWLOOOLIHVHPEUD
HVVHUHODGLVFLSOLQDIRWRJUDÀFDSHUIHWWDSHU
XWLOL]]DUHTXHVWLJHQHUL6RQRFRQFHQWUDWLVVLPD
quando nel mio studio fotografo oggetti
SLFFROLVVLPLFRPHGLDPDQWLRVSUX]]LG·DFTXD
qXQDVÀGDHQWXVLDVPDQWH6SHVVRWHQJRLOVHW
DOOHVWLWRSHUJLRUQLHFRQWLQXRDVFDWWDUHÀQFKp
l’immagine non è perfetta.
Tuttavia ti appassiona la ripresa dei cavalli,
dove non hai il controllo totale della
scena...
)RWRJUDIDUHFDYDOOLLQD]LRQHqODPLDJUDQGH
passione, sono i soggetti dei miei lavori
SHUVRQDOLXQWLSRGLIRWRJUDÀDFKHqTXDVL
O·RSSRVWRGHOODIRWRJUDÀDLQVWXGLR7XWWDYLD
mi concentro sui dettagli come il movimento
GHOOR]RFFRORGLXQFDYDOORGDGUHVVDJHOD
curva della coda mentre salta, lo scintillio
dell’acqua sul pelo e le vene piene di sangue:
mi fanno venir voglia di fotografare.
6RQRSD]]DGHLFDYDOOLHGHOODIRWRJUDÀDVLQ
da quando ero bambina; disegnavo cavalli e
li fotografavo con la mia piccola macchina
IRWRJUDÀFD
Come la maggior parte dei fanatici degli
DQLPDOLDYHYRODVWDQ]DWDSSH]]DWDGLGLVHJQL
di cavalli, il copriletto con i cavalli, le tende
con i cavalli, i quaderni con i cavalli, ed io
li riempivo di scritte “I love Ginger” (il mio
DFFRJOLHDVLQLHSLFFROLFDYDOOLQLGLDFUL
un paradiso assoluto!
Cosa vuoi trasmettere con le tue fotograÀe
ai cavalli?
La gioia che provo quando sto insieme al
mio cavallo, una gioia che provo anche
osservando dettagli come il muscolo in
ÁHVVLRQHXQSDUWLFRODUHGHOOR]RFFROROD
URVDGHLSHOLVXOÀDQFRRJOLRJJHWWLFKH
XWLOL]]RFRPHLÀQLPHQWLGLFXRLRJOLVSHURQL
O·DEELJOLDPHQWRGDHTXLWD]LRQHLOÀHQRL
bauli di legno, tutte cose che possono essere
PDJQLÀFDPHQWHIRWRJHQLFKH
La gioia è un sentimento che porta pace, che a
sua volta porta felicità, che porta creatività …
Come hai lavorato a composizione e
illuminazione nelle immagini della serie
Bits & Pieces?
6RQRIRWRJUDÀHUHDOL]]DWHQHOPLRVWXGLRFRQ
YDULWLSLGLOXFLÁDVKHVRQRXQULIHULPHQWR
diretto a William Michael Harnett e ai pittori
GLWURPSHO·RHLOLQSDUWLFRODUHODIRWRJUDÀD
con la pelliccia arancione è la mia ode
all’artista Helen Chadwick. Le immagini
con sfondo scuro invece sono state scattate,
sempre nel mio studio, con luce naturale
su velluto marrone scuro. Oggetti così ben
ODYRUDWLGDHVVHUHSLFFROLSH]]LG·DUWHDQFRU
prima di arrivare davanti alla mia macchina
IRWRJUDÀFD
Dove si trova il tuo studio fotograÀco?
(·XQRVSD]LRFKHDGRURLQXQHGLÀFLR
chiamato The Mind Spring Agricultural
Center, un’ex scuola elementare degli anni
’20, oggi ristrutturata e popolata da artisti
e piccole imprese e agricoltori. Io sono
Lustrous #1
from Abstractions and Curves series
All images © Monica Stevenson
FDYDOOR'HYRDYHUIDWWRLPSD]]LUHLPLHL
genitori!
Una passione grandissima... da dove viene?
Non lo so, però ricordo che amavo guardare
PLDPDGUHHPLRIUDWHOORGXUDQWHOHOH]LRQL
GLHTXLWD]LRQHLQ$XVWUDOLD0LLQFXULRVLYDQR
DQFKHO·DWWUH]]DWXUDHGHWWDJOLFRPHJOLVWLYDOL
di pelle marrone, le vecchie briglie di cuoio, il
pelo grigio del cavallo.
Oggi vivo in una città molto orientata
DOO·HTXLWD]LRQHHKRXQDFDYDOODGLQRPH=RH
FRQODTXDOHFDYDOFRYROWHDOODVHWWLPDQDH
ci stiamo allenando per il Gran Prix Dressage.
=RHYLYHFRPHXQDGLYDLQXQDIDWWRULDFKH
al secondo piano insieme alla mia ottima
VTXDGUDGLODYRURGDOOHJUDQGLÀQHVWUH
possiamo vedere i campi e le colline del West
North Carolina.
/HVWDPSHSHUzOHUHDOL]]RDFDVDPLD
DSRFKLPLQXWLGDOORVWXGLRFRQOD
mia stampante Epson, le lampade a luce
controllata e tavoli grandi.
/DUHDOL]]D]LRQHGHOOHVWDPSHqXQRGHL
motivi per cui sono diventata fotografa,
perché ritengo che solo la stampa sia
LOSURGRWWRÀQDOHGHOSURFHGLPHQWR
IRWRJUDÀFRHWXWWRPLULFRUGDTXHLPRPHQWL
indimenticabili trascorsi con mio padre nel
suo bagno / camera oscura...
ZOOM | 79
KEVIN BEST
AUSTRALIA
bestshots.com.au

You wrote a book about Àne art still life

photography, why?
I receive many questions about my technique
and the principles of still life, so I created
DVPDOOHERRN5HDOL]LQJLWDOVRKHOSHGPH
WRFU\VWDOOL]HPDQ\RIP\WKRXJKWVDQGKDV
added rigor to my practice.

What exactly does still life photography

mean?
The objects we have often contain a meaning
and some have also a deep symbolism.
The interplay of those elements, united in a
photograph, can tell quite complex stories that
the viewer must then read.

What are the objects that characterize a

classic still life photograph?
Mortality has always been an important topic
for still life painters and photographers, for
H[DPSOHWKHZHOONQRZQZDUSKRWRJUDSKHU
Don McCullin, that for his shot A Dead North
Vietnamese Soldier, The Battle of Hue in 1968
arranged a still life next to the dead soldier
using the belongings that were scattered
about him, pictures of the family, bullets, a
letter. Objects like these complete the picture
and have featured in still life paintings for
KXQGUHGVRI\HDUV)UXLWÁRZHUVLQVHFWV
smoke, bubbles and of course the skull are all Morandi on a Pedistal 2018
potent symbols of the transience of life. from After Morandi series

Are there any classic rules for still life

composition?
Traditionally painters used the golden spiral
to construct still life composition and in the
Golden Age in The Netherlands painters
used the crossed composition providing great
depth to the image and directing the eye
to the centre of interest at the intersection.
These rules were all thrown out in the 20th
FHQWXU\ZKHQWKHFXELVWVFUHDWHGÁDWVWLOO
life’s with point of view from above—a staple
of modern food photography. Also there are
painters like Giorgio Morandi who focus on
abstraction.
When is it allowed to include the human
Àgure?
The Dutch certainly did it, mostly slaves it
has to be said. They were probably seen as
objects of trade at the time—no different to
a spice or a shell. But there are also painters
like David Bailly who included themselves in
YHU\FRPSOH[VWLOOOLIHSDLQWLQJVRUUHÁHFWHGLQ
objects. I do it also.
Let’s turn to your works. When did you
start?
I fell in love with this art in 2006, studying
at The Australian Center for Photography.
I am inspired by the paintings of the Dutch
golden age, which fascinate me above all
for their strong symbolism. Objects can
have a soul and enter into dialogue with the
spectator, if he can read the image. I bring
this into my works. In particular, in my series
of photographs Classic Still life, I tackle the
recurring theme of the fear of climate change
that threatens to devastate the entire planet.
How do you build your sets that are so rich
in elements?
It takes a great deal of time and money
to assemble all the objects: to develop a
narrative I lay them out using the rules laid
down by the original painters I reference.
But currently I am working on a new series,
After Morandi, inspired by the Italian painter
Giorgio Morandi who uses totally different
rules, so I have to “unlearn” everything of the
Dutch paintings.
Re-working a painting by Morandi
through a photograph must have been very
complicated ...
'HÀQLWHO\,WWRRNPHWZR\HDUVWRÀQG
the same bottles and the same vessels that
Morandi used. Then, since the painter was
obsessed with showing the passage of time
adding dust to his bottles, I also added a layer
of dust on my images and faded the colours,
trying to convey the same feeling.
Do you use post-production?
Yes, a great deal. Photo stacking and
compositing means many layers in Photoshop.
In particular, for the After Morandi images,
I’ve had to develop a new post production
technique that captures a hint of the
spontaneity of Morandi’s brush.

80 | ZOOM
Morandi on a Pedistal 2018
from After Morandi series

ZOOM | 81
Still life with crab and scampi 2011
from Classic Still Life series

82 | ZOOM
Still life with fruit and pepper 2016
from Classic Still Life series

ZOOM | 83
Hai scritto un libro sulla fotograÀa di still
life, perché?
Ricevo molte domande sulla mia tecnica e sui
SULQFLSLGLTXHVWDWHFQLFDIRWRJUDÀFDFRVuKR
UHDOL]]DWRXQSLFFRORHERRN5HDOL]]DUORPL
ha aiutato anche a consolidare molti dei miei
pensieri e aggiungere rigore alla pratica.

Cosa signiÀca fotograÀa di still life?

,QRVWULRJJHWWLVSHVVRFRQWHQJRQRVLJQLÀFDWL
VLPEROLFL/·LQWHUD]LRQHWUDJOLHOHPHQWLVXO
VHWXQLWLLQXQDIRWRJUDÀDSXzUDFFRQWDUH
storie piuttosto complesse, che lo spettatore
deve poi interpretare.

Quali sono gli oggetti classici che

caratterizzano le fotograÀe di still life?
Il tema della morte è sempre stato importante
SHUSLWWRULHIRWRJUDÀGLVWLOOOLIHEDVWD
pensare al celebre fotografo di guerra Don
McCullin, che per il suo scatto A Dead
North Vietnamese Soldier, The Battle of Hue
del 1968, arrangiò uno still life usando le
cose che trovò lì sparpagliate, le immagini
di famiglia, i suoi proiettili, una lettera.
Oggetti come questi completano l’immagine
e sono presenti negli still life da centinaia
GLDQQL)UXWWDÀRULLQVHWWLIXPREROOHH
naturalmente il teschio, sono tutti simboli
ricorrenti che evocano la caducità della vita.

Esistono regole classiche per la

composizione nello still life?
7UDGL]LRQDOPHQWHLSLWWRULXVDYDQRODVH]LRQH
aurea come schema compositivo.
Nei Paesi Bassi durante l’età dell’oro i pittori
VHJXLYDQRTXHVWDWHFQLFDGLFRPSRVL]LRQHSHU
dare profondità e far cadere lo sguardo verso
il centro di interesse dell’immagine.
3RLQHO;;VHFRORLFXELVWLKDQQRDSSLDWWLWR
lo still life con un punto di vista dall’alto, la
base della food photography moderna. E poi
ci sono pittori come Giorgio Morandi che si
FRQFHQWUDQRVXOO·DVWUD]LRQH

Quando è lecito inserire la Àgura umana?

I pittori olandesi lo facevano, si dice che
fossero per lo più schiavi, visti probabilmente
FRPHRJJHWWLQRQGLYHUVDPHQWHGDXQDVSH]LD
o una conchiglia. Poi ci sono pittori come
David Bailly che si sono autoritratti all’interno
GLFRPSRVL]LRQLFRPSOHVVHGLVWLOOOLIHR
ULÁHWWHQGRVLVXRJJHWWL/RIDFFLRDQFK·LR

Veniamo ora ai tuoi lavori, quando hai

cominciato?
Mi sono innamorato di questa arte nel
2006, studiando a The Australian Centre
for Photography. Mi ispiro ai dipinti del
secolo d’oro olandese che mi affascinano Still life with pochette 2010
soprattutto per il loro forte simbolismo. Gli from Vanitas series
oggetti possono avere un’anima ed entrare in
dialogo con lo spettatore, se questi sa leggere
l’immagine. Porto questa chiave di lettura
nei miei lavori. In particolare, nella mie serie
GLIRWRJUDÀHClassic Still life, affronto il
tema ricorrente del timore del cambiamento
climatico che minaccia di devastare l’intero
pianeta.

84 | ZOOM
 Triple self portrait 2009
from Portraits series
All images © Kevin Best

Come costruisci i tuoi set così ricchi di
elementi?
Ci vuole un bel po’ di tempo e denaro per
assemblare tutti gli oggetti: per sviluppare una
QDUUD]LRQHULFRUURDOOHUHJROHGLFRPSRVL]LRQH
XWLOL]]DWHGDLSLWWRULDLTXDOLPLULIHULVFR
Attualmente però sto lavorando a una
serie After Morandi ispirata al pittore
italiano Giorgio Morandi che usa regole
completamente diverse e devo “dimenticare”
tutto dei dipinti olandesi.
Rielaborare un dipinto di Morandi
attraverso una fotograÀa dev’essere stato
molto complicato…
Decisamente. Ci ho messo due anni solo per
trovare le stesse bottiglie e gli stessi recipienti
che usava Morandi.
Poi, dato che il pittore era ossessionato dal
mostrare il trascorrere del tempo aggiungendo
polvere alle sue bottiglie, anch’io ho aggiunto
uno strato di polvere sulle mie immagini e
sbiadito i colori cercando di trasmettere la
VWHVVDVHQVD]LRQH
Lavori in post-produzione?
6uHGqLPSHJQDWLYD8QLUHOHIRWRJUDÀHH
comporre richiede l’uso di molti livelli di
Photoshop.
In particolare, per le immagini di After
Morandi, ho dovuto sviluppare una nuova
WHFQLFDGLSRVWSURGX]LRQHFKHULFRUGDVVHLO
pennello di Morandi.

ZOOM | 85
HEINZ BAUMANN
SWITZERLAND
heinzbaumann.com
From commercial still life photography to
personal still life conceptual works—what
is it you want to narrate or communicate in
these projects?
,GHFLGHGWRVSHFLDOL]HLQFRQFHSWXDODQGVWLOO
life photography because these styles that I
use for artistic and commercial product shots
purposes are also the way I see the world of
objects. I am fascinated by photography that
suggests to the viewer a cryptic meaning in
its composition and is open to free personal
interpretation. Modern technology has
enabled conceptual and still life photography
to become more surreal, which allows me
to combine images or objects that would
otherwise be impossible to juxtapose. Digital
software allows me to add effects and
ÀOWHUDQLPDJHWRDFKLHYHDFHUWDLQORRNRU
feel. But we must be careful because true
creativity springs from the imagination of
the photographer, and technology is merely a
tool.
Photography, and still life even more, has
86 | ZOOM
the power to express a lot through a single
composition: is this the secret of your
photographs?
The composition yes, but above all the
UHDOL]DWLRQRIDQLGHDZLWKOLJKW,ZRUNDORW
with lighting to express a feeling. In the series
The Space in Between, the main light was a
145x145 cm softbox above the center of the
set, supplemented by a bounce in front of the
VXEMHFW7KHÁDVKZLWKSURMHFWLRQRSWLFVZDV
used to create textured lighting effects and
shadows. Simple lighting can create a warm
tone picture. The props were chosen to match
the mood of the picture.
What camera do you use?
When I work in the studio I mainly use large
format cameras, in particular the Cambo
Ultima 23 D view camera with the digital
back Leaf Aptus 75.
Tell us more about The Space in Between
series…
This is a very personal work. It has much
to do with my opinion on the importance
of awareness of transience. Last year, The
Space in Between series was exhibited at the
European Cultural Center in the context of
the Venice Art Biennale 2017. At the time, I
wrote a piece for the exhibition catalog, here
is an extract:
“Existence is indivisible, as to exist means to
ÀQGRQHVHOILQDFRQWLQXXPRIVSDFHDQGWLPH
At the end of this continuity comes death: the
extinguishing of existence in space and time.
Yet, for humanity, to exist also means to give
this continuum meaning, and to be aware of
LWLQRUGHUWRUHFRJQL]HRQHVHOIDVDVSDWLDOO\
SK\VLFDODQGWHPSRUDOO\ÀQLWHEHLQJ,QThe
Space in Between,KDYHWULHGWRYLVXDOL]H
these anthropological constants…Photography
as an act—and thus the photograph as an
object—wrests substance from transience
in order to die by its hand through the
dissolution of continuity. Photography is thus
a modern death ritual—one that brings forth
death by capturing life, creating a depiction of
our yearning for immortality.”
ZOOM | 87
88 | ZOOM
ZOOM | 89
90 | ZOOM
ZOOM | 91
Dalla fotograÀa di still life commerciale
a opere decisamente concettuali, cosa
ti proponi di narrare, o comunicare,
DQQRVFRUVRODVHULHThe Space in Between
attraverso i tuoi progetti personali?
+RGHFLVRGLVSHFLDOL]]DUPLQHOODIRWRJUDÀD
$UWHGL9HQH]LD
concettuale e di still life perché lo stile
HSRFDKRVFULWWRLOVHJXHQWHXQ
FRQFXLHVHJXROHIRWRJUDÀHGLSURGRWWL
commerciali e artistici è anche il modo in cui
vedo il mondo degli oggetti.
HVLVWHQ]DqLQGLYLVLELOHLQTXDQWRqXQ
6RQRDIIDVFLQDWRGDTXHOODIRWRJUDÀDFKHQHOOD
FRPSRVL]LRQHVXJJHULVFHDOORVSHWWDWRUHXQ
HVLVWHQ]DQHOOR
VLJQLÀFDWRFULSWLFRHOLEHUDO
LQWHUSUHWD]LRQH VRJJHWWR,OÁDVKPLqVHUYLWRSHUFUHDUHHIIHWWL
XRPR
personale.
La tecnologia moderna ha favorito
O·HYROX]LRQHVXUUHDOHGHOODIRWRJUDÀD
concettuale e di still life , nel senso che
posso combinare immagini o oggetti come
altrimenti sarebbe stato impossibile. Il
software mi consente di aggiungere effetti
HÀOWUDUHXQ
LPPDJLQHSHURWWHQHUHXQFHUWR in particolare la Cambo Ultima 23 D con il
ULVXOWDWRXQDVHQVD]LRQH
Tuttavia dobbiamo stare attenti, perché la
YHUDFUHDWLYLWjVFDWXULVFHGDOO
LPPDJLQD]LRQH Raccontaci di più della serie The Space in
del fotografo mentre la tecnologia è
semplicemente uno strumento.
92 | ZOOM
Nella tua fotograÀa, di still life in Ha a che fare con il mio modo di intendere la
particolare, la composizione ha una grande transitorietà della vita.
forza espressiva: è questo il segreto delle /
tue fotograÀe? è stata esposta al Centro Culturale Europeo
/DFRPSRVL]LRQHVuPDVRSUDWWXWWROD QHOFRQWHVWRGHOOD%LHQQDOHG
UHDOL]]D]LRQHGLXQ·LGHDFRQODOXFH/DYRUR $OO
PROWLVVLPRFRQO·LOOXPLQD]LRQHSHUHVSULPHUH testo per il catalogo della mostra, questo è un
XQDVHQVD]LRQH1HOODVHULH´7KH6SDFHLQ estratto:
Between”, la luce principale era data da un ´/
VRIWER[GL[FPSRVL]LRQDWRVRSUDDO FRQWLQXXPGLVSD]LRHWHPSR$OODÀQH
set, al centro, con un illuminatore davanti al DUULYDODPRUWHqODÀQHGHOO
VSD]LRHQHOWHPSR(SSXUHSHUO
di luce e ombra. Gli oggetti sulla scena invece HVLVWHUHVLJQLÀFDDQFKHGDUHXQVLJQLÀFDWRD
sono stati scelti in modo da corrispondere questo continuum in modo consapevole, per
all’atmosfera dell’immagine. ULFRQRVFHUVLFRPHHVVHUHOLPLWDWRQHOORVSD]LR
ÀVLFRHQHOWHPSR,QThe Space in Between,
Quale fotocamera usi? KRFHUFDWRGLYLVXDOL]]DUHTXHVWHFRVWDQWL
4XDQGRODYRURLQVWXGLRXWLOL]]R antropologiche...
principalmente fotocamere grande formato, /DIRWRJUDÀDFRPHDWWRHTXLQGLOD
IRWRJUDÀDFRPHRJJHWWRWUDHVRVWDQ]DGDOOD
dorso digitale Leaf Aptus 75. WUDQVLWRULHWjDWWUDYHUVRODGLVVROX]LRQHGHOOD
FRQWLQXLWj/DIRWRJUDÀDqTXLQGLXQPRGHUQR
rituale di morte, che produce la morte
Between… FDWWXUDQGRODYLWDXQDUDSSUHVHQWD]LRQHGHO
E’ un lavoro molto personale. nostro desiderio di immortalità.”
 All images © Heinz Baumann
Represented by Photart, Switzerland

ZOOM | 93
BOOKS | ABELARDO MORELL
CUBA
abelardomorell.net

5HQRZQHGRQWKHLQWHUQDWLRQDOÀQHDUWVFHQH
mainly for his surrealist photographs of the
Camera 2bscura series—for example, his
famous “Image of the Empire State Building
in Bedroom, 1”—and A Book of Books,
this Cuban photographer (b. 1948), presents
his latest series entitled Flowers for Lisa: A
Delirium of Photographic Invention. Like his
previous works, the photographs are collected
LQDÀQHSDJHYROXPHDQGLQFOXGHVD
very interesting interview by author/writer
Lawrence Weschler.
Abelardo Morell has focused his attention
on one of the most common artistic subjects,
WKHÁRZHU7KHFRQFHSWRIFlowers for Lisa
emerged when Morell gave his wife, Lisa,
DSKRWRJUDSKRIÁRZHUVIRUKHUELUWKGD\
´3UHFLVHO\EHFDXVHÁRZHUVDUHVXFKD
conventional subject, I felt a strong desire to
describe them in new, inventive ways.”
Drawing inspiration from the works of Jan
Brueghel, Édouard Manet, Georgia O’Keeffe,
René Magritte and others, Morell succeeds in
his intent, while remaining true to his style.

TELL ALL THE TRUTH

BUT TELL IT SLANT.
Emily Dickinson
Cover

Excerpt from the interview:
Lawrencw Weschler: When did you start
taking these photographs?
Abelardo Morell: In 2014, in February,
because that was her birthday. I’d been in
the habit of giving her big bouquets on her
birthdays, but that year I decided to try
something a little different.
LW: So I guess I should begin by asking,
who is this “her,” this Lisa person?
AM: Well, that would be my wife, Lisa, and
we’ve been together since 1976. So it’s a long
marriage. And I think she saved my life. I
was a bit of a mess and her love just kind of
transformed me.
LW: You say she saved your life? How?
AM: Well, she gave me a sense of what a life
together with someone else could be. With
her, it felt like—another visual thing—it felt
like I could see for miles. And that was really
UHDVVXULQJ\RXNQRZ":HFRXOGÀJKWKHUH
and there, but there was a long road together.
LW: I imagine when you Àrst started, you
weren’t a famous photographer…
AM: Not at all.
LW: And it wasn’t at all clear that you
were going to be one, and so that must
have required a lot of support from her . . .
AM: Support, and belief, absolutely. But we
traveled together, County Clare and so forth,
and that sense of steady love, especially in
the context of the whole immigrant thing,
was fundamental. Because exile is inherently
unstable.

94 | ZOOM
I have no comparable gifts for the person I love. These pictures, what they represent to me, to him, render the ineffable.
I can only say that I am grateful, not just for the images and the impetus behind them but most of all for the man who
made them. His uncommon vision, his unquestioning acceptance of me and of my aspirations and preoccupations, his
faith in us—unwavering always—have been the true gifts in all the time we’ve shared.
Lisa McElaney, Newton, Massachusetts, October 2017

Flowers for Lisa #2, 2015

ZOOM | 95
Flowers for Lisa #29, 2016

96 | ZOOM
Flowers for Lisa #44, 2017

ZOOM | 97
“Non ho regali di valore paragonabile per la persona che amo. Queste immagini, ciò che rappresentano per me, per lui, rendono l’inef-
fabile. Posso solo dire che sono grata, non solo per le immagini e l’impulso che c’è dietro, ma soprattutto per l’uomo che le ha create.
La sua visione non comune, la sua accettazione incondizionata di me e delle mie aspirazioni e preoccupazioni, la sua fede in noi, sem-
pre incrollabile, questi sono stati i veri doni durante tutto il tempo che abbiamo condiviso.”
Lisa McElaney, Newton, Massachusetts, ottobre 2017

0ROWRQRWRVXOODVFHQDÀQHDUWLQWHUQD]LRQDOH
SULQFLSDOPHQWHSHUOHVXHIRWRJUDÀHVXUUHDOLVWH
delle serie Camera Obscura – della quale
ricordiamo la celebre “Image of the Empire
6WDWH%XLOGLQJLQ%HGURRPGHOµH
A Book of Books, l’artista cubano, classe
1948, presenta la sua ultima serie dal titolo
Flowers for Lisa: A Delirium of Photographic
,QYHQWLRQUDFFROWD²FRVuFRPHOHDOWUH
LQXQSUH]LRVRYROXPHGLSDJLQHFRQ
XQ·LQWHUYLVWDGDYYHURLQWHUHVVDQWHÀUPDWDGD
Lawrence Weschler, autore e scrittore.
$EHODUGR0RUHOOKDSXQWDWRODVXDDWWHQ]LRQH
su uno dei soggetti artistici più comuni, il
ÀRUH,OFRQFHWWRGL)ORZHUVIRU/LVDqHPHUVR
quando Morell ha donato a sua moglie, Lisa,
XQDIRWRJUDÀDGLÀRULSHULOVXRFRPSOHDQQR
´,ÀRULIDQQRSDUWHGLXQDOXQJDWUDGL]LRQH
dello still life nell’arte”, scrive Morell.
´3URSULRSHUFKpLÀRULVRQRXQVRJJHWWRFRVu
FRQYHQ]LRQDOHKRVHQWLWRLOIRUWHGHVLGHULRGL
descriverli in modi nuovi, innovativi.”
Con un cenno alle opere di Jan Brueghel,
Édouard Manet, Georgia O’Keeffe, René
Magritte e altri, Morell riesce nel suo intento
rimanendo fedele al suo stile.

DÌ TUTTA LA VERITÀ,
MA DILLA OBLIQUA.
Emily Dickinson
Flowers for Lisa #51, 2017

Estratto dall·intervista pubblicata nel volume:
Lawrence Weschler: Quando hai iniziato a
realizzare queste immagini?
Abelardo Morell: Nel 2014, a febbraio,
perché era il suo compleanno. Avevo
O·DELWXGLQHGLUHJDODUOHJUDQGLPD]]LGLÀRULDL
suoi compleanni, ma quell’anno ho deciso di
provare qualcosa di diverso.
LW: Quindi immagino che dovrei chiederti,
chi è questa Lei?
AM: Beh, mia moglie, Lisa, stiamo insieme
dal 1976. Quindi è un lungo matrimonio. E
penso che mi abbia salvato la vita. Ero un po’
confuso e il suo amore mi ha trasformato.
LW: Dici che ti ha salvato la vita? Come?
AM: Beh, mi ha fatto capire come può essere
la vita insieme ad un’altra persona. Con lei
sentivo di poter vedere lontano per miglia.
E questo è stato davvero rassicurante, sai?
Litigavamo, ma ci aspettava una lunga strada
insieme.
LW: Immagino che quando hai iniziato,
non eri un famoso fotografo…
AM: Certamente no.
LW: E non era affatto chiaro se lo saresti
diventato, quindi questo deve aver richiesto
un forte supporto da parte sua...
AM: Supporto e fede, assolutamente. Ma
viaggiavamo insieme, nella contea di Clare
HROWUHHODVLFXUH]]DGHOO·DPRUHVRSUDWWXWWR
QHOFRQWHVWRGHOO·HPLJUD]LRQHGD&XEDqVWDWD
fondamentale. Perché l’esilio dà instabilità.

98 | ZOOM
 Flowers for Lisa #14, 2016

All images © Abelardo Morell

Courtesy of Edwynn Houk Gallery

Book
Flowers for Lisa: A Delirium of Photographic Invention by Abelardo Morell, conversation with Lawrence Weschler (Abrams)

ZOOM | 99
ANNE DE CARBUCCIA
USA
annedecarbuccia.com/

Equilibrium

100 | ZOOM
7KHSURMHFWE\WKH)UHQFK$PHULFDQHQYLURQPHQWDODUWLVW$QQHGH
Carbuccia entitled 2ne Planet 2ne Future harnesses the universal
language of art to raise awareness and inspire individual action. Anne
GH&DUEXFFLDDLPVWRGUDZDWWHQWLRQWRWKHKXPDQFDXVHGWKUHDWVWRWKH
RXUSODQHWDQGWKHHQYLURQPHQWDOFULVLVWKURXJKKHUSKRWRJUDSKVÀOP
DQGLQVWDOODWLRQVWKDWVKHUHDOL]HVLQWKHÀUVWSHUVRQRQORFDWLRQDQGDUH
ERWKDQKRPDJHWRWKHLUVXEMHFWVZDWHUGLVDSSHDULQJHQYLURQPHQWV
HQGDQJHUHGVSHFLHVDQGDQH[DPLQDWLRQRIWKHUXLQRXVHIIHFWVRI
climate change. Her art tells the story of “what we have, what we may
lose and what we have already lost”.
7RUHDOL]HVWKHVHSKRWRJUDSKV$QQHVWDJHVDV\PEROLFLQVWDOODWLRQ
called TimeShrine always carrying on location two objects that are
essential for the composition: an hourglass, which is the most ancient
ZD\RIFDOFXODWLQJWLPHDQGDV\PERORIÁHHWLQJH[LVWHQFHDVZHOODVD
skull (or vanity). To complete these shrines Anne incorporates organic
elements and found objects on location, each carefully collected for
their special meaning.
TimeShrines speak to our origins, our beliefs, and what we cherish;
WKH\DUHVWDUWOLQJLPDJHVWKDWHPRWLRQDOO\GUDZDQGLQYLWHWRUHÁHFWRQ
where we come from, who we are, and what we want for the future.

Anne de Carbuccia is the founder of the project 2ne Planet 2ne

Future and the Time Shrine Foundation. Her work has been exhibited
in museums and public institutions throughout Europe and the United
States including the Moscow Museum of Modern Art, Musée
Oceanographique de Monaco, Westbeth Foundation for the Arts in
New York and most recently at Castel dell’Ovo in Naples, Italy. Her
work is also part of several private collections internationally.
+HUVKRUWÀOP2QH2FHDQZDVSUHVHQWHGDWWKHWK9HQLFH
International Film Festival.

TIME SHRINE FOUNDATION

to donate: oneplanetonefuture.networkforgood.com

With photography, ilm and art installations, the Time Shrine

Foundation want to raises awareness the viewers on human-caused
threats to the planet, including water scarcity, pollution and species
extinction and wants to inspire change in consumer behavior in
favor of the environment, of protected species and of endangered
cultures.
The Association One Planet One Future Italia shares and supports the
activities of Anne de Carbuccia and of the TimeShrine Foundation in
Italy.

ZOOM | 101
Liwa Dawn

102 | ZOOM
 “I WISH TO ILLUMINATE THE DAMAGE, THE BREAKAGE, THE
FRAGMENTATION. SOMEHOW, IF I CAN MAKE IT BEAUTIFUL, I CAN MAKE
IT ONE AGAIN.”
Anne de Carbuccia

Gentoo penguins & Blue whale bone

ZOOM | 103
Planet

104 | ZOOM
 Water Shrine

ZOOM | 105
106 | ZOOM
 Il progetto dell’artista ambientalista
IUDQFRDPHULFDQD$QQHGH&DUEXFFLD
intitolato 2ne Planet 2ne Future sfrutta
il linguaggio universale dell’arte per
DXPHQWDUHODFRQVDSHYROH]]DHLVSLUDUH
O·D]LRQHLQGLYLGXDOH$QQHGH&DUEXFFLD
GHVLGHUDDWWLUDUHO·DWWHQ]LRQHVXOOHPLQDFFH
causate dall’uomo al nostro pianeta e sulla
FULVLDPELHQWDOHDWWUDYHUVRIRWRJUDÀHÀOPH
LQVWDOOD]LRQLFKHUHDOL]]DVXOSRVWRLQSULPD
persona e sono sia un omaggio ai soggetti
UDSSUHVHQWDWLDFTXDDPELHQWLLQYLDGL
HVWLQ]LRQHVSHFLHLQYLDGLHVWLQ]LRQHVLDXQ
esame degli effetti rovinosi dei cambiamenti
climatici. L’arte di Anne racconta la storia di
“ciò che abbiamo, ciò che potremmo perdere
e ciò che abbiamo già perso”.
3HUUHDOL]]DUHTXHVWHIRWRJUDÀH$QQH
PHWWHLQVFHQDXQ·LQVWDOOD]LRQHVLPEROLFD
chiamata TimeShrine portando sempre sul
SRVWRGXHRJJHWWLFKHVRQRHVVHQ]LDOLSHUOD
FRPSRVL]LRQHXQDFOHVVLGUDFKHqLOPRGR
più antico di calcolare il tempo e un simbolo
Per completare questi santuari Anne incorpora
elementi organici e oggetti trovati sul posto,
da lei accuratamente raccolti per il loro
VLJQLÀFDWRVSHFLDOH
I TimeShrines parlano delle nostre origini,
GHOOHQRVWUHFRQYLQ]LRQLHGLFLzFKHDPLDPR
sono sorprendenti immagini che coinvolgono
HPRWLYDPHQWHHLQYLWDQRDULÁHWWHUHGDGRYH
veniamo, chi siamo e cosa vogliamo per il
futuro.
Anne de Carbuccia è la fondatrice del
progetto 2ne Planet 2ne Future e della
Time Shrine Foundation. Il suo lavoro è
VWDWRHVSRVWRLQPXVHLHLVWLWX]LRQLSXEEOLFKH
in Europa e negli Stati Uniti, tra cui il
Museo d’arte moderna di Mosca, Musée
Oceanographique de Monaco, Westbeth
Foundation for the Arts di New York e di
recente al Castel dell’Ovo di Napoli (Italia).
Il suo lavoro è anche parte di numerose
FROOH]LRQLSULYDWHDOLYHOORLQWHUQD]LRQDOH
Il suo cortometraggio 2ne 2cean è stato
SUHVHQWDWRDOƒ)HVWLYDO,QWHUQD]LRQDOHGHO
All images © Anne De Carbuccia
from One Planet One Future series
oneplanetonefuture.org
Permanent exhibitions:
at West Street, 10014 New York, USA
at Via Conte Rosso 8, Milan, Italy
Exhibition at Brun Fine Art gallery, London
until November 15th
GHOO·HVLVWHQ]DIXJDFHHXQWHVFKLRRYDQLWDV &LQHPDGL9HQH]LD
Attraverso la fotograia, le installazioni cinematograiche e artistiche, la Time Shrine
Foundation desidera sensibilizzare lo spettatore sulle minacce umane causate al pianeta, tra
cui la scarsità d’acqua, l’inquinamento e l’estinzione delle specie e vuole ispirare cambiamenti
nel comportamento dei consumatori a favore dell’ambiente, delle specie protette e di culture
in via di estinzione.
L’Associazione One Planet One Future Italia condivide e sostiene le attività di Anne de
Carbuccia e della Fondazione TimeShrine in Italia.
ZOOM | 107
AUCTION | PHOTOGRAPHIES
“COLLECTIONS & PROPOSITIONS”
6 NOVEMBER 2018 2:30PM
MILLON, SALLE VV, 3 RUE ROSSINI, PARIS FRANCE
millon.com

For Millon’s upcoming prestige photography

auction on November 6th 2018 in Paris,
a selection of high quality 19th century
and 20th century works will be presented:
a half plate daguerreotype by pioneering
photographers Charles Choiselat and Stanislas
Ratel in an exterior group self-portrait, a
collection of 19th century works by French
primitive photographers, several albums
including the construction of the Panama
Canal and early large format prints of the
0LGGOH(DVWE\%RQÀOV«WKHUHZLOODOVREH
vintage prints by Man Ray, a solarization and
a portrait, as well prints by the photographers
Aaron Siskind, Elliot Erwitt, with large
format nudes by Helmut Newton and Peter
Lindbergh. High quality prints will be
presented to complete private collections or
public institutions.

Helmut NEWTON (1920-2004)

“Tour de Plongée, Old Beach Hotel”, Monte Carlo, 1981
Vintage silver gelatin print, signed, titled and dated in ink,
author’s copyright on the back
100 x 100 cm, framed
20 000 / 30 000 €

Charles-Marie-Isidore CHOISELAT (1824-1904)

et Stanislas RATEL (1815-1858)
Self-portrait, the photographers surrounded by their
friends, c. 1843-1845
Daguerreotype ½ plate
10 x 13 cm oval, (plate 15,5 x 19 cm), in a frame
4 000 / 6 000 €

108 | ZOOM
Peter LINDBERGH (1944)
Amber Valletta as Marlene Dietrich, portrait, 1995
Vintage silver gelatin print, on double weight
paper, on the back: handwritten identiication in
pencil: “PL 29 256 - 34”
36,2 x 24,2 cm (40,3 x 30,5 cm)

ZOOM | 109
110 | ZOOM
Previous page:
Aaron SISKIND (1903-1991)
“Facade, Unoccupied Building, Harlem, 1937”
Modern silver gelatin print, on double weight paper,
signed in ink on the margin, on the back: titled and dated
in pencil, annotations
22,8 x 29,7 cm (27,7 x 35,5 cm)
1 000 / 1 500 €
Elliott ERWITT (1928)
“New York, 1974”
Modern silver gelatin print, on double weight paper,
annotations in pencil on the back
20 x 30 cm (28 x 35,5 cm)
ERWITT ELLIOTT © Magnum Photos
800 / 1 000 €

$OODSUHVWLJLRVDDVWDGLIRWRJUDÀDGL0LOORQ
il 6 novembre 2018 a Parigi, verrà presentata
una selezione di lavori di alta qualità del XIX
H;;VHFRORXQGDJKHUURWLSRGHLIRWRJUDÀ
pionieristici Charles Choiselat e Stanislas
Ratel che rappresenta un autoritratto di
gruppo, una collezione di opere del XIX
VHFRORGLIRWRJUDÀIUDQFHVLGLYHUVLDOEXPWUD
cui le prime stampe di grande formato del
0HGLR2ULHQWHGL%RQÀOV
All’asta anche stampe vintage di Man Ray,
una solarizzazione e un ritratto, nonché
VWDPSHGLIRWRJUDÀ$DURQ6LVNLQG(OOLRW
Erwitt, i nudi di grande formato di Helmut
Newton e Peter Lindbergh.
Stampe di alta qualità saranno presentate per
completare collezioni private o istituzioni
pubbliche.

MAN RAY (Emmanuel RADNITSKY, dit) (1890-1976)

“Calla Lilies”, solarization, 1930
Vintage silver gelatin print, indications of publishing on
the back
29,2 x 23 cm
15 000 / 20 000 €

Peter LINDBERGH (1944)

“Helena Christensen, Debbie Lee Carrington, Vogue Italy,
ET Mirage, California, 1990”
Vintage silver gelatin print, dedication handwritten in
ink in French on the image: “Cher Jacques, c’est pour le
courage de faire Pin Up- ET Pour Vogue Italie, Los Angeles,
Février 1990, Peter”
74 x 114 cm, framed
20 000 / 30 000 €

Public exhibition days:

3 novembre 2018, 11- 7pm
5 novembre 2018, 11- 7pm
6 novembre 2018, 11- 12

CONTACT:
Expert Christophe GOEURY
+33 (0)6 16 02 64 91
chgoeury@gmail.com

Natalia Raciborski
Département Photographies
Bureau : + 33 (0)1 40 22 66 33
Portable : +33 (0)7 88 09 91 86
photographie@millon.com

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