PAOLO NICOLA POSSINI
Rossini’s evolution toward artistic photography started in 2007. Since the beginning, his work has been inspired by a truly personal way of representing reality and the evolution of his photography has always been directed by an intimate interpretation of his subjects.
From the first series which focused on mostly ignored objects, followed by collages of sequential images that attempted to catch the movement and change of scenery and our perception of it, his attention then evolved toward a deeper conceptual approach and concentrated on landscapes (in the loosest sense of the word), nature and a personal interpretation of “still life”; in these works the subjects appear as suspended in time and space, almost indefinite.
Rossini has experimented with different approaches to portraying his intimate representation of reality. This experimentation has led to the emergence of two different bodies of work that started and developed at the same time but remained independent of one another in both their technical and conceptual approach.
On one side he has developed a process of mixing video and photography, that enables him to catch subjects’ movements and at the same time melt different images into a single one. The process creates a sense of suspension between past and present, creating a transition of time, spaces, and subjects – which is the real purpose and essence of the project; in the series “Shapes”, “Still Life”, “Details” and “Subjects” the images lose definition through the movement and by melting into each other they become almost abstract and open to multiple interpretations by the viewer.
On the other hand, “The Black Series” is a purely photographic work but still based on a very intimate vision of reality. It represents a world where all is darkness and the light comes from inside the subject itself. The black permeates all the surrounding space and it is the most striking feature of this body of work and the various subjects represented - airplanes, buildings, trees, landscapes and almost imaginary aerial visions - all emerge as sources of light themselves.
In both cases, photography is not the final goal but a means of representation and it is used in a more unconventional way; the works look like a painting of a reality seen from the mind more than the eyes and the camera lens.
2015 Tenderness, Onishi Project, New York City, NY
2012 Mist, Gallery Spazio Solferino, Milan, Italy
2012 Disgregazione della Memoria, Archivolto Events, Milan, Italy
2011 Passato prossimo, Gallery Dream factory, Milan, Italy
2014 Transitions, Oxenberg Gallery, Miami, FL
2013 Transitions, (two-person) Venice, Italy, Collateral event to 55th Venice Biennale 2013
2013 MIA, Milan Image Art Fair 2013, Milan, Italy
2013 Transitions, (two-person) BOCA Museum, Boca, FL
2010 Le Ragioni della Leggerezza, Galleria Effearte, Milan, Italy