Francesco Mangiaracina

Still Life - the end photography 80x120 cm

Visual search formal aesthetics, but also substantial combining images of lifeless creatures.
I told creatures and not animals because I believe that our position as humans do not will allow us to distinguish ourselves from other organisms in the moment of deprivation of life.
If our cat dies can cause more pain than a human being killed by that we are not in relationship.
Respect for life therefore ... every form of life, a trivial teaching but increasingly neglected and replaced, at the expense of nature, by fascination with technology…to a moment of our small and very limited present.
Reclaiming an overall view of our lives watching his end like a bright finish.

TOTEM

In the stillness of a white vertical surface I felt the need to take possession of a visual tribal gesture, distilling objects, images and thoughts gathered in the accumulation of everyday life, enhancing the material to incorporate them to find a new meaning, making, in the purpose of my intent, a mirror to reflect on our failures and our doubts.R32;A warning to me or the person who stands in front, not to underestimate the origin of the present and the mystery of our human condition.


Since the beginning of my interest in photography and visual art in general I have tried the mix of techniques and methodologies with contributions by direct action on the prints produced to find a synergy, besides a unity that was unequivocal.R32;In the early stages of my career this intention was only directed to the photographic image, but then it is also translated in the union of elements of presumed objectivity of reality into the most imaginative part of




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In these times of easiness in the photography techniques, I find the strongest motivations in dedicating myself to charge with physicalness the already inherent uniqueness of the analogue image in B/W, searching for anything that an image is capable of evoking or recalling.

My belief is that in the imperfection folds of the image as well as of those of memories, there is space for our fantasies, our hopes and our aspirations for a different view of existence.

Asserting the uniqueness and refining the possible emotional variables of a photographic image, I claim my identity only because of the past, with the use of manual ability on the physical color drafting on the film.
The future is not ours and it does not describe us.

My intent in visual research is not to produce beautiful images confined within their boundaries, but to create evocative doors that one can open to thoughts and to a possible different processing of the time s






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work-installation "Critical Cyclicity" - water
realization 2011

evocative cycle of water; mutation status (vapor-liquid-solid), from its origin to its deterioration, shortage, commodification, privatization and the consequences of the power of those who control people's lives.


I am convinced, as man and artist, that the gradual replacement of a common good (but not less than a "thinking" policy) with a private interest feeds resentment and frustration at the feeling of being dispossessed of sharing in the relationship between humans and therefore a large part of our democracy.
Sharing is one of the few actions that alleviate the man from the burden of living and make sense of where the water is, and must remain, the ultimate symbol and expression.
 

Panel 130x130 cm. - composition of images produced by me.
Inserts of 4 old brass taps recovery and
continuous flow of water through a small idraulic lo

visual contrast
dual opposition of thoughts freed from narrow straps of constraints and conventions
shining with the light of our visions
the way of the doubt

Still Life - the end photography 80x120 cm

Visual search formal aesthetics, but also substantial combining images of lifeless creatures.
I told creatures and not animals because I believe that our position as humans do not will allow us to distinguish ourselves from other organisms in the moment of deprivation of life.
If our cat dies can cause more pain than a human being killed by that we are not in relationship.
Respect for life therefore ... every form of life, a trivial teaching but increasingly neglected and replaced, at the expense of nature, by fascination with technology…to a moment of our small and very limited present.
Reclaiming an overall view of our lives watching his end like a bright finish.

tribute to Edvard Munch

The future is not ours and do not describe us.

In the stillness of a white vertical surface I felt the need to take possession of a visual tribal gesture, distilling objects, images and thoughts gathered in the accumulation of everyday life, enhancing the material to incorporate them to find a new meaning, making, in the purpose of my intent, a mirror to reflect on our failures and our doubts.
A warning to me or the person who stands in front, not to underestimate the origin of the present and the mystery of our human condition.

tribute to Magritte

mixed media / photography-drawing
Evocative exchange on the thin line between desire and objectivity, experiencing an equilibrium between the visual fragments of what appears and visions built with my imagination.
Move visual fragments from the plane of memory, and the acquisition of memories, to that of the imagination inducing a continuous reversibility of this process to melt, arbitrarily and syncretic, two possible traces of our presence in a given context.
Distill a single image-frame not as a simple representation of what one has lived but one or more possible dimensions.

mixed media / photography-drawing
Evocative exchange on the thin line between desire and objectivity, experiencing an equilibrium between the visual fragments of what appears and visions built with my imagination.
Move visual fragments from the plane of memory, and the acquisition of memories, to that of the imagination inducing a continuous reversibility of this process to melt, arbitrarily and syncretic, two possible traces of our presence in a given context.
Distill a single image-frame not as a simple representation of what one has lived but one or more possible dimensions.

mixed media / photography-drawing
Evocative exchange on the thin line between desire and objectivity, experiencing an equilibrium between the visual fragments of what appears and visions built with my imagination.
Move visual fragments from the plane of memory, and the acquisition of memories, to that of the imagination inducing a continuous reversibility of this process to melt, arbitrarily and syncretic, two possible traces of our presence in a given context.
Distill a single image-frame not as a simple representation of what one has lived but one or more possible dimensions.

mixed media / photography-drawing
Evocative exchange on the thin line between desire and objectivity, experiencing an equilibrium between the visual fragments of what appears and visions built with my imagination.
Move visual fragments from the plane of memory, and the acquisition of memories, to that of the imagination inducing a continuous reversibility of this process to melt, arbitrarily and syncretic, two possible traces of our presence in a given context.
Distill a single image-frame not as a simple representation of what one has lived but one or more possible dimensions.

mixed media / photography-drawing
Evocative exchange on the thin line between desire and objectivity, experiencing an equilibrium between the visual fragments of what appears and visions built with my imagination.
Move visual fragments from the plane of memory, and the acquisition of memories, to that of the imagination inducing a continuous reversibility of this process to melt, arbitrarily and syncretic, two possible traces of our presence in a given context.
Distill a single image-frame not as a simple representation of what one has lived but one or more possible dimensions.

mixed media / photography-drawing 50x70 cm
Evocative exchange on the thin line between desire and objectivity, experiencing an equilibrium between the visual fragments of what appears and visions built with my imagination.
Move visual fragments from the plane of memory, and the acquisition of memories, to that of the imagination inducing a continuous reversibility of this process to melt, arbitrarily and syncretic, two possible traces of our presence in a given context.
Distill a single image-frame not as a simple representation of what one has lived but one or more possible dimensions.

The future is not ours and do not describe us.

dual opposition of thought freed from narrow straps of constraints and conventions
shining with the light of our visions
the way of the doubt

visual gesture, but also substantive and formal semantics, for a totem to which materialize memories as a warning against all forms of racism, against all the unjust opposition, because I don't wont to lose the sharing, because I don't wont to lose the vision of an other possible future.

In the stillness of a white vertical surface I felt the need to take possession of a visual tribal gesture, distilling objects, images and thoughts gathered in the accumulation of everyday life, enhancing the material to incorporate them to find a new meaning, making, in the purpose of my intent, a mirror to reflect on our failures and our doubts.R32;A warning to me or the person who stands in front, not to underestimate the origin of the present and the mystery of our human condition.

In the stillness of a white vertical surface I felt the need to take possession of a visual tribal gesture, distilling objects, images and thoughts gathered in the accumulation of everyday life, enhancing the material to incorporate them to find a new meaning, making, in the purpose of my intent, a mirror to reflect on our failures and our doubts.
A warning to me or the person who stands in front, not to underestimate the origin of the present and the mystery of our human condition.