100 Self-Portraits
bu Luca Pierro
bu Luca Pierro
The works of Luca Pierro express a micro and macro cosmos, where the figure of the artist, who is also the one who photographs, forcefully enters the scene. The protagonist of the portraits is the same photographer. There are shots in his intent to escape the "already seen "to" already done ". He explores new and unspoiled paths, from the point of origin of man himself, with the use of natural elements such as: flour, land, water, clay and so on. All elements that lead back to "Mother Earth". For the artist is important the traceability of the material used to leave on the surfaces portrayed.
The body becomes the vehicle of expression. The artist undermines the concept of traditional portrait (beautiful) to introduce viewers to new dynamics.
Offers us portraits full of meanings, sometimes with a strong provocation. Some of them put us in touch with the contemporary research in experimental theater. So the artist is able to establish with the viewer an involvement immediate and spontaneous.
"His image, his body, they become expressive material," we see the real "Metamorphosis", with which he conveys his art.
The colors used are essential. The careful study of light evokes her strong spirituality.
Represents a new and exciting proposal, a new study, which began long ago, the ancient land to the tensions raised by modern man, immersed in a in a culture dominated by technology.
Your self-portraits are amazing. How much digital manipulation do you do, if any?
The people who see my work think they are photoshoped. Actually, they are not. I try to reach the effects, textures and lights with the least amount of manipulation as possible so I use a lot of materials like flour, milk, water and other. For the lighting, I usually use a single flash with an umbrella reflector.
Many of your images are very dark. What type of emotions do you try to evoke in your viewers?
The intention is to express a micro and macro cosmos where the figure of the artist can forcefully enter onto the scene. My figure represents a man, "the man," involved with materials. All the elements that can lead back to "Mother Earth." In this way, the body becomes the vehicle of expression. The traceability of the material used on the body surface is important for me. Equally important are the light and dark. The contrast between these two elements evokes the struggle between life and death.
Where do you get your inspiration?
My first inspiration was my mother. Thanks to her, I learned to appreciate painting and art. I do not have a specific artistic reference. Rather, I try to be attracted by what I see and to elaborate it in my inner world. I remain, however, always fascinated by the work of some great artists. I love the use of light in Caravaggio, the reinterpretation of the real in Magritte, and the human despair in Bruegel.
What piece of advice would you give to aspiring photographers?
I have no advice to give. I can only say what is right for me. Try to figure out what you have inside. All images, colors, emotions are already inside of us because they are part of our human nature. The trick is to find a way to release this inner world. (http://www.mymodernmet.com/profiles/blogs/using-the-body-as-a-vehicle)
The body becomes the vehicle of expression. The artist undermines the concept of traditional portrait (beautiful) to introduce viewers to new dynamics.
Offers us portraits full of meanings, sometimes with a strong provocation. Some of them put us in touch with the contemporary research in experimental theater. So the artist is able to establish with the viewer an involvement immediate and spontaneous.
"His image, his body, they become expressive material," we see the real "Metamorphosis", with which he conveys his art.
The colors used are essential. The careful study of light evokes her strong spirituality.
Represents a new and exciting proposal, a new study, which began long ago, the ancient land to the tensions raised by modern man, immersed in a in a culture dominated by technology.
Your self-portraits are amazing. How much digital manipulation do you do, if any?
The people who see my work think they are photoshoped. Actually, they are not. I try to reach the effects, textures and lights with the least amount of manipulation as possible so I use a lot of materials like flour, milk, water and other. For the lighting, I usually use a single flash with an umbrella reflector.
Many of your images are very dark. What type of emotions do you try to evoke in your viewers?
The intention is to express a micro and macro cosmos where the figure of the artist can forcefully enter onto the scene. My figure represents a man, "the man," involved with materials. All the elements that can lead back to "Mother Earth." In this way, the body becomes the vehicle of expression. The traceability of the material used on the body surface is important for me. Equally important are the light and dark. The contrast between these two elements evokes the struggle between life and death.
Where do you get your inspiration?
My first inspiration was my mother. Thanks to her, I learned to appreciate painting and art. I do not have a specific artistic reference. Rather, I try to be attracted by what I see and to elaborate it in my inner world. I remain, however, always fascinated by the work of some great artists. I love the use of light in Caravaggio, the reinterpretation of the real in Magritte, and the human despair in Bruegel.
What piece of advice would you give to aspiring photographers?
I have no advice to give. I can only say what is right for me. Try to figure out what you have inside. All images, colors, emotions are already inside of us because they are part of our human nature. The trick is to find a way to release this inner world. (http://www.mymodernmet.com/profiles/blogs/using-the-body-as-a-vehicle)
