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Galleria Antonella Nicola
Via Baretti 3, 10125 Torino
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Italy
Tel.++39 011 6503978
Fax++39 011 6686210
Hours: Tue.-Sat. 3pm-7:30pm
Contact: Antonella Nicola
E-mail: a_nicola@libero.it
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Daniela De Lorenzo - Thomas Eller
Florentine artist Daniela De Lorenzo presents her latest photographic work, which explores the theme of identity. In this series of five black-and-white self-portraits, the disappearance of the artist’s face provokes a moment of alienation, of distancing herself from the viewer. As the title of the work suggests, De Lorenzo takes her starting point from the movement a person makes when they quickly turn their head in another direction, as if attracted by some sudden distraction. She then stretches this instant into an infinite moment or, alternatively, speeds it up out of all proportion until the face disappears altogether. Unable to recognize it, the viewer can only imagine it.
Time features as the principle element in the second work on show in which a young girl is captured as she plays, in the instant when she jumps up in the air and spins 360°. Here De Lorenzo the expansion of time creates a double image: beyond the movement and chaos created by the girl’s spinning, certain elements in the picture remain fixed, held immobile in an eternal present in which the carefree nature of childhood seems to stand still for a moment when faced with the unconscious knowledge of the future.
In both works, the movement that takes place, a circular, fully completed movement, implicates not only a two-dimensional time in which the image takes place, but a spatial dimension too, a location in which the action, the moving of the body back and forth occurred: a third dimension.
Originally from Coburg (Germany), Thomas Eller currently lives and works in New York. For this solo show, the artist presents a series of works in which viewers are instantly unsettled on entering into relationship with the objects on display: the objects enlarge out of all proportion and explode. These objects are elements from everyday life and can be recognized by the specific context in which the artist has set them, thus hinting at a precise dimension and connotation. The identity of the objects exists in the moment of their recognition. By altering the viewer’s perception of the object onto an enormous scale, however, Eller generates a kind of inversion: the mammoth, apparently living object becomes the protagonist. It is the object that recognizes the viewers, that initiates the game of glances and allusions. It’s a reciprocal movement of going and returning, which relates to the space around us. More than photographs, Eller’s works are sculptures. The title of each piece bears witness, in its structural composition, to the complex nature of the relationship between the recognized image and the “recognizer”; it bears witness to a baroque wealth, to an explosion of abundance, to luxury. Every element (of both work and title) is meticulously constructed to a precise design.
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