Michele Paggetta's Projects
The signs are everywhere and evidence the human presence .Two lines in the same plane will always intersect unless they are parallel. Parallel lines are lines that are always the same distance apart and they never intersect. In the real world a good example of parallel lines is a railroad.The rails on a railroad track are always the same distance apart,they run in the same direction, and they never intersect. The boards(sleepers)between the rails on a track are also parallel because they do not intersect and are the same distance apart. Notice that the sleepers and the rails touch. This is called an intersection. The place that two lines intersect at is called an intersection point.
Aphorisms about flowers. Her head resting upon an infinitely wide feather pillow her hands laying upon a coverlet like white tulip petals in her hair the birds are starting their chirping. (Nazim Hikmet) Are you asking me why I am buying rice and flowers ? I buy rice for a living and flowers for giving me a reason to live. (Confucius) There are always flowers for those who want to see them. (Henri Matisse) I must have flowers, always, and always. (Claude Monet) In joy or sadness flowers are our constant friends. ( Kakuzō Okakura)- The Book Of Tea
The two motor scooters Vespa and Lambretta share beauty, style and a promise of freedom. In any case they have always divided their respective faithful followers. They were both born in the same years but went by different routes, they were both by constructive and historical point of view very distinct from each other. The Vespa made by Piaggio and built in Pontedera in the province of Pisa, could be compared to a pet animal, with its smooth and soft lined bodywork. On the contrary, the Lambretta made by Innocenti and produced in Lambrate in the province of Milan, presented itself with a more businesslike look, with cut clean features. Vespa enjoyed glamourous appearances in the film world with Audrey Hepburn and Gregory Peck in the film Roman Holidays, another icon of the Italian Dolce Vita of that period. Vespa made its way and followed the marketing trends, adapting to the various forms of globalization and the various economic phases on the market.The photographs reflect my personal point of view of picking out details or extended views of the mural paintings that most attract me.
Where street photography and street art mingle and deal with each other, where one completes the other, without intrusions. Where both end up blending with each other even though going through different or even opposite passages. The case of a pedestrian subway covered with graffiti full of colours and a multitude of meanings, evidencing and detailing the typical accuracy of street photography. The photographs reflect my personal point of view of picking out details or extended views of the mural paintings that most attract me.
At the bottom of the sumptuous staircase in Palazzo Cucchiari in Carrara Italy, with its beautiful 19th century frescoes, the exhibition of Canova's and his pupils' masterpieces are shown in full view and glory. The Hermitage in St Petersburg, Florence, Rome and Carrara are connected by an invisible thread created by Canova and his pupils. The works that stand out and set themselves up distinctively are the neoclassical ones, among which Canova's bust of Napoleon is considered the most outstanding. Napoleon's portrait from the Hermitage is the revising of his first sculpture created in Paris in front of Napoleon in person, whom Canova was not very fond of, considering that in his time on occupying Venice, Napoleon had initially revoqued the life annuity granted to Canova. Bertel Thorvaldsen, a rival of Canova's, is outstanding with of his sculpure of Cupid playing the lyre. Also prominent are the Three Graces by Carlo Finelli, who ventures in his own interpretation of a 'graceful genre'. On the way looking at all the artworks shown at the Palazzo Cucchiari, quite remarkable are the works of the sculptors Lorenzo Bartolini, Luigi Pampaloni and Pietro Tenerani.
Here we are again in Berlin where every year there is this long serpentine of colours winding down the Ku Damm up to the Brandenburg Gate. Two wide open wings made out of crowds of people from everywhere in the world, uncoil among bright coloured buses at the sound of music and any type of sonority that can blend perfectly with a certain unconventional ecleticism, gaiety and why not, pure happiness. Each and every participant belongs to a small and polyhedral universe of their own that ends up being part of a variegated and imaginative multifaceted shower of colours. In this colourful macrocosm many talents emerge and distinguish themselves in defining in their own way a human and cosmic approach to a form of blithe happiness.
Every single year Basel suddenly becomes the worldwide epicentre of a variety of contemporary art forms, shown and promoted at the same time in fairs around the city during the month of June. My intent in photographing images has to do with putting them together and creating a vision of contemporary art in the context of an exhibition and trade fair. In fact, I am seeing, imagining and transposing in photography a single work composed by visitors and works exposed as a whole and unique artistic artifact.
Photography shown in books or elsewhere on the subject of tattooing, generally concentrates upon text and image, the design or writing transferred on the human body, while excluding and avoiding to present the indelible image in a relationship body and mind by whom has chosen to harmonize the tattoo as a whole with one's personality. The attention towards my photographs goes to referring the personality and motivations prompted by the subjects in wanting to fully express and complete themselves through body images. Grand renaissance tapestries in a mobile art version. Photographs and text by Michele Paggetta.
