BESIDE the art FIELD, domestic life is maybe the CONTEXT where photography gained more ground. EVENTS LIKE birthday party, family gathering, WEDDINGS AND SO ON, PHOTOGRAPHY PRODUCED A CONSIDERABLE amount of VISUAL DOCUMENTS, some cherished, BUT some MOSTLY discarded. ESPECIALLY before the coming of the digital era, WHEN it was difficult FOR “photographers” to check beforehand, AND TO PREVENT, the technical mistakes.
Evoking the Dadaist line of thought AND the SYMBOLIC ACT, by EXTRACTING AN OBJECT FROM ITS ORIGINAL CONTEXT AND giving to IT a new aesthetic MEANING, the artist SELECTED imperfect and discarded photographs FROM family albums that he was able to find in flea markets, second hand shops and online auctions. The result OF THIS GESTURE IS A BODY OF WORKS CHARACTERIZED BY “MATERIC” PASTOSE PICTORIAL COMPOSITIONS WITH A STRONG ABSTRACT – expressionistic imprint, where photography and painting – THE two forms of visual communication in conflict by tradition- blend into each other and create a new LINGUISTIC TURN, ABLE TO OVERCOME THE SUBSTANTIAL DIFFERENCES AND LIMITS OF BOTH THE DISCIPLINES.
Through his research, Luca Pizzaroni always proved his artistic vocation FOR QUESTIONING ON LIMINAL SITUATIONS BY FOCUSING on the perceptible repercussions of the economic system on everyday life and social behavior. From “EndCommercial”, a study on the adaptation of humans’ languages and customs as a consequence of the metropolitan background mutation; to “Labels Project Sculpture”, a research based on a cataloging of aboriginal clothes in order to protect the originality of the product and the internal economy of the various countries; “Landlords”, a report that targets poverty, the most critical implication of consumerism; and “Krada”, a straightforward complaint on society’s complicity and addiction to urban survival strategies such as unauthorized commercial traffic and forgery.
Once again, Luca Pizzaroni, through his work questions the opportunity to persist in the restless race to something always new, and on the subject of self-destruction, which could afflict the sphere of personal memory.
His PERSONAL ANSWER TO THIS RISK IS EMBODIED BY THE ARTISTIC GESTURE CONSISTING IN THE REVALUATION OF “THE ALREADY EXISTING” AND that he symbolically performs through the recovery of one of the most accessible cultural and mnemonic find: the INSTANT, UNPROFESSIONAL AND BANAL FAMILY SHOOT.
PARADOXICALLY, this kind of photographs, ALTHOUGH FUTILE AND INEXACT, include an entire world of HUMAN values, MOSTLY FELL INTO A DOZE AND READY TO BE AWAKENED, “RECYCLED” AND SHARED, SUCH AS memories, emotions and temporality.
IN DOING SO, Pizzaroni ALSO stirs up the attention towards THE familiar intimacy AND MICROCOSM that, ALTHOUGH ACCIDENTALLY PORTRAYED IN OUT OF TIME KIND OF SHOOTS, HOLDS that strong genuine feeling of belonging AND AUTHENTICITY that, today, RISKS TO BE THREATENED WITH EXTINCTION AND TO go with the wind. (Emanuela Mino)