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Details. Shapes and signs in fashion fabrics and techniques

Details are important.

People too often exclude them. We used to look at the total, the whole, the completed. We live in an open-ended distraction from reality.
In the photographs that you will find in the exhibition, the camera lens focus precisely on the search for the specific. We look for the segment, the portion, or rather the detail, which, combined with other details, makes up the totality of the garment.
This is the only way to perceive the final work of art.
Taken out of context, the detail becomes a unique element, a work of art in its own right.
In fact, if you know modern and contemporary art, you will recognize in these photographs the traits and styles of an artist like Galasso.

https://artsupp.com/it/roma/mostre/dettagli-forme-e-segni-nei-tessuti-e-nelle-tecniche-della-moda-museo-boncompagni-ludovisi

In fact, this is how the artist gives voice to the twenty shots in the exhibition. Here R. Galasso does not show the photographic eye of the fashion shows, but the eye that turns to the inner self. In this way, the artist manages to open up investigations, reflections and multiple interpretations.

In addition, we can say that his shots add artistic value to the collections of the Boncompagni Ludovisi Museum. Photographed fashion has very specific purposes, namely survival’ and iconographic ‘mutation’.

Who is Roberto Galasso?

Roberto Galasso is a photographer for the Ministry of Culture. He works and curates various contexts where there is an opportunity to combine reality and vision. Throughout his life he has documented various areas in the cultural heritage sector, often focusing on photography of contemporary art and architecture. In recent years, he approached documentation photography because he is moved by the need to focus his gaze on the individual who experiences the things of the world.


Finally: The exhibition will be available until 18 April 2022. You can visit it at the Boncompagni Ludovisi Museum, via Boncompagni 18, Rome.

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