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L'ARTISTA  Sezione Fotografia

Nicol Vizioli

nato/a a: Rome

residenza di lavoro/studio: London (UNITEDKINGDOM)

iscritto/a dal 29 apr 2012

sito web: http://www.nicolvizioli.com

Le opere

Nicol Vizioli |

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"Aurora", from the series Shadows on Parade
photography (analogue photography), hahnemühle photo rag paper, giclee - framed
83.5x83.5

Nicol Vizioli |

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"Madonna", from the series Shadows On Parade
photography (analogue photography), hahnemühle photo rag paper, giclee - framed
83.5x83.5

Nicol Vizioli |

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"Diana1", from the series Shadows On Parade
photography (analogue photography), hahnemühle photo rag paper, giclee - framed
55x55

Biografia

BIO
Born in Rome, Nicol Vizioli graduated from MA Fashion Photography at London College of Fashion - University of The Arts London - with first class honours in 2011. Her work has been exhibited in several places, as the Zabludowicz Collection and was shortlisted for the Sony World Photography Student Focus Awards, with a show at Somerset House, London. It has also been exhibited as part of the 15th Biennale de l’Europe in Greece and Vizioli will be represented at SCOPE Basel later this year.
She lives and works in London, where she will have her solo show in May, Shadows On Parade.
Shadows On Parade (few notes about the project)
The insight of this project draws upon many different places, such as mythology, literature, painting and the animal world: photography is therefore regarded as the convergence point, where all of them meet.
There is a specific idea of space in it: no scenario, the possible reality is a black box, antechamber of desire, abyss. There is no emptiness or total absence of life, but a summary of all the choices and possibilities, from which life's forms and shapes come from. And in that obscurity I weaved memories, exploring remembrances, instincts and desires. Due to the soft light figures appear like a revelation and the rest remains wrapped in the deep darkness, in the mystery.
I shot with the marvel of who can wait, the wait of a moment - the photographic one - the illuminated one of Caravaggio, the fatal one of Bacon, two of my main references.
Another key of this project, and actually of my whole research, is the wide range of human forms and different beauties I worked with. Each character was carefully chosen for this project; I wanted the idea of human completeness to disappear, photographing the discrepancy instead of the person.