INVISIBILIA (folder)

Ugo Carmeni, Invisibilia, Venice, 2021

Shot in Venice (2020), edited in Venice (2021), printed and folded in the Author's studio

Edition of 20 + 2PA, 34 x 44 cm


Premiered at the 62nd New York International Antiquarian Book Fair by the bookseller Alessandro Borgato in 2022


Details:

The folder contains the eight photographs (340 x 440 mm, margins included) of the series Invisibilia, produced in limited editions, designed and printed directly in the author’s studio.

Printing: Giclée on cotton paper with Ultra Crome HDR Epson.

Finishing of the photographs: wax on the surface, work directly made by the author (the process is visible on the passepartout).

The folder is realized in grey hard recycled cardboard with the raw cut spine, title and description are printed on the translucent dust jacket, the folder is closed by a black fabric elastic.


The entire process of production is directly made by the author’s studio.




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NVISIBILIA was exhibited for the first time in Venice in 2020 at Fondazione dell'Albero d'Oro (8 photographs, 150 x 100 cm, edition of 5 + 2ap). The work is a macroscopic reinterpretation of a number of formal elements decorating the 16th century facade of Palazzo Vendramin Grimani in Venice facing Canal Grande. During the restoration of the building it was possible to identify and photograph a series of rather small sculptural details (between approximately 50 and 100 mm), from an extremely close distance.


The photographs identify several subjects from capitals and pilaster strips decorating the facade and resembling to: 1. a dragon-shape helmet; 2. a dolphin; 3. a chimera; 4. a putto’s head; 5. a lion’s head; 6. a tree; 7. three flowers inside a vase; 8. a flower with four petals. All these figures are characterized by unexpected details and expressive features normally impossible to see from Canal Grande.


The photographic transformation of each of these subjects in the distended space of the works introduce into a fantastic world made of cracks and ambiguities, bordering on a grotesque expressiveness, where figures, signs of workmanship and traces of time are all mixed together.







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