Picture ID: 1056110 - Available in alternative wall art styles.
Picture ID: 1263896 - Available in alternative wall art styles.
Picture ID: 1058208 - Available in alternative wall art styles.
Picture ID: 1057991 - Available in alternative wall art styles.
Picture ID: 1057682 - Available in alternative wall art styles.
Picture ID: 1048881 - Available in alternative wall art styles.
Picture ID: 1056340 - Available in alternative wall art styles.
Picture ID: 1057088 - Available in alternative wall art styles.
Picture ID: 1057278 - Available in alternative wall art styles.
More collections from this artist
Ukiyo, the Floating World
Ukiyo-e (literally “pictures of the floating world”) is the name given to popular paintings and prints (scenes from history, folk tales, cities, travels, nature, landscapes and erotica) during the Edo period in Japan. My work wants to be a tribute to the wonderful land of Ukiyo. I have chosen to portray this by means of a brief narrative about the natural and urban landscape, a story in which man may be absent from the scene, but is fully present in terms of his achievements and his choices. Clear images (Shiro) and dark images (Kuro) appear to be two distant universes, yet they are linked by a strong bond whose roots are to be found in the legacy of a thousand- year-old culture, ranging from popular art to a profound respect for mankind and nature.
Lunar
Real or fake ? Possible or impossible ? The moon landing has always inspired unconscious feelings of incredulity. It’s hard to deny that our certainty has been shaken more than once by our stubborn, archaic attachment to a sceptical stance. The conspiracy theories that have grown up around the moon landing only prove to what extent the role of photography as the objective representation of reality – Roland Barthes’ “ça a été” (that has been) – has been challenged. The great variety of processes at the photographer’s disposal for constructing an image, in fact, actually nullifies any guarantee of authenticity and compromises the medium’s access to reality. The observer’s glance becomes precarious; the photographer has the ability to falsify reality with a realistic image that appears to be genuine, but by hiding the truth behind unrealistic images he clouds the viewer’s perception. Lunar plays on the vibrations induced by the images beheld by the observer and probes the ambiguity and relativism of the border between reality and its representation.
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