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"Ad Vivum",  Giuseppe Lo Schiavo Photography

I have imagined this photographic series as a journey with no space-time boundaries , a bridge that links the Flemish painters such as Vermeer , Jan van Eyck, Robert Campin and even Tiziano, Antonello da Messina with the digital photography; An amalgamation of the classical aesthetic with a modern medium. I wanted to create portraits without explicit time references, chronologically uncertain. Therefore I asked from the subjects of the photographs to imprison their emotion while at the same time to be mysterious. Subjects whose identity is revealed by peering at 3 emotion filters: the expression of the subject, the emotional reaction of the artist that addresses his vision and the reflection of the observer who tries to identify what part of the subject he wants to grasp. In those images, warm and cold colors coexist which are diffused and distributed through the subjects – in a similar manner as in the pictorial portraits – creating sculptures, motionless subjects, smooth and stiff like marble. The Latin name ‘ad vivum’ is taken from the engravings that some painters inserted under their paintings in order to specify that the painting was painted live.
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f-l-e-u-r-d-e-l-y-s:

"Ad Vivum",  Giuseppe Lo Schiavo Photography

I have imagined this photographic series as a journey with no space-time boundaries , a bridge that links the Flemish painters such as Vermeer , Jan van Eyck, Robert Campin and even Tiziano, Antonello da Messina with the digital photography; An amalgamation of the classical aesthetic with a modern medium. I wanted to create portraits without explicit time references, chronologically uncertain. Therefore I asked from the subjects of the photographs to imprison their emotion while at the same time to be mysterious. Subjects whose identity is revealed by peering at 3 emotion filters: the expression of the subject, the emotional reaction of the artist that addresses his vision and the reflection of the observer who tries to identify what part of the subject he wants to grasp. In those images, warm and cold colors coexist which are diffused and distributed through the subjects – in a similar manner as in the pictorial portraits – creating sculptures, motionless subjects, smooth and stiff like marble. The Latin name ‘ad vivum’ is taken from the engravings that some painters inserted under their paintings in order to specify that the painting was painted live.
Zoom Info
f-l-e-u-r-d-e-l-y-s:

"Ad Vivum",  Giuseppe Lo Schiavo Photography

I have imagined this photographic series as a journey with no space-time boundaries , a bridge that links the Flemish painters such as Vermeer , Jan van Eyck, Robert Campin and even Tiziano, Antonello da Messina with the digital photography; An amalgamation of the classical aesthetic with a modern medium. I wanted to create portraits without explicit time references, chronologically uncertain. Therefore I asked from the subjects of the photographs to imprison their emotion while at the same time to be mysterious. Subjects whose identity is revealed by peering at 3 emotion filters: the expression of the subject, the emotional reaction of the artist that addresses his vision and the reflection of the observer who tries to identify what part of the subject he wants to grasp. In those images, warm and cold colors coexist which are diffused and distributed through the subjects – in a similar manner as in the pictorial portraits – creating sculptures, motionless subjects, smooth and stiff like marble. The Latin name ‘ad vivum’ is taken from the engravings that some painters inserted under their paintings in order to specify that the painting was painted live.
Zoom Info
f-l-e-u-r-d-e-l-y-s:

"Ad Vivum",  Giuseppe Lo Schiavo Photography

I have imagined this photographic series as a journey with no space-time boundaries , a bridge that links the Flemish painters such as Vermeer , Jan van Eyck, Robert Campin and even Tiziano, Antonello da Messina with the digital photography; An amalgamation of the classical aesthetic with a modern medium. I wanted to create portraits without explicit time references, chronologically uncertain. Therefore I asked from the subjects of the photographs to imprison their emotion while at the same time to be mysterious. Subjects whose identity is revealed by peering at 3 emotion filters: the expression of the subject, the emotional reaction of the artist that addresses his vision and the reflection of the observer who tries to identify what part of the subject he wants to grasp. In those images, warm and cold colors coexist which are diffused and distributed through the subjects – in a similar manner as in the pictorial portraits – creating sculptures, motionless subjects, smooth and stiff like marble. The Latin name ‘ad vivum’ is taken from the engravings that some painters inserted under their paintings in order to specify that the painting was painted live.
Zoom Info
f-l-e-u-r-d-e-l-y-s:

"Ad Vivum",  Giuseppe Lo Schiavo Photography

I have imagined this photographic series as a journey with no space-time boundaries , a bridge that links the Flemish painters such as Vermeer , Jan van Eyck, Robert Campin and even Tiziano, Antonello da Messina with the digital photography; An amalgamation of the classical aesthetic with a modern medium. I wanted to create portraits without explicit time references, chronologically uncertain. Therefore I asked from the subjects of the photographs to imprison their emotion while at the same time to be mysterious. Subjects whose identity is revealed by peering at 3 emotion filters: the expression of the subject, the emotional reaction of the artist that addresses his vision and the reflection of the observer who tries to identify what part of the subject he wants to grasp. In those images, warm and cold colors coexist which are diffused and distributed through the subjects – in a similar manner as in the pictorial portraits – creating sculptures, motionless subjects, smooth and stiff like marble. The Latin name ‘ad vivum’ is taken from the engravings that some painters inserted under their paintings in order to specify that the painting was painted live.
Zoom Info
f-l-e-u-r-d-e-l-y-s:

"Ad Vivum",  Giuseppe Lo Schiavo Photography

I have imagined this photographic series as a journey with no space-time boundaries , a bridge that links the Flemish painters such as Vermeer , Jan van Eyck, Robert Campin and even Tiziano, Antonello da Messina with the digital photography; An amalgamation of the classical aesthetic with a modern medium. I wanted to create portraits without explicit time references, chronologically uncertain. Therefore I asked from the subjects of the photographs to imprison their emotion while at the same time to be mysterious. Subjects whose identity is revealed by peering at 3 emotion filters: the expression of the subject, the emotional reaction of the artist that addresses his vision and the reflection of the observer who tries to identify what part of the subject he wants to grasp. In those images, warm and cold colors coexist which are diffused and distributed through the subjects – in a similar manner as in the pictorial portraits – creating sculptures, motionless subjects, smooth and stiff like marble. The Latin name ‘ad vivum’ is taken from the engravings that some painters inserted under their paintings in order to specify that the painting was painted live.
Zoom Info
f-l-e-u-r-d-e-l-y-s:

"Ad Vivum",  Giuseppe Lo Schiavo Photography

I have imagined this photographic series as a journey with no space-time boundaries , a bridge that links the Flemish painters such as Vermeer , Jan van Eyck, Robert Campin and even Tiziano, Antonello da Messina with the digital photography; An amalgamation of the classical aesthetic with a modern medium. I wanted to create portraits without explicit time references, chronologically uncertain. Therefore I asked from the subjects of the photographs to imprison their emotion while at the same time to be mysterious. Subjects whose identity is revealed by peering at 3 emotion filters: the expression of the subject, the emotional reaction of the artist that addresses his vision and the reflection of the observer who tries to identify what part of the subject he wants to grasp. In those images, warm and cold colors coexist which are diffused and distributed through the subjects – in a similar manner as in the pictorial portraits – creating sculptures, motionless subjects, smooth and stiff like marble. The Latin name ‘ad vivum’ is taken from the engravings that some painters inserted under their paintings in order to specify that the painting was painted live.
Zoom Info
f-l-e-u-r-d-e-l-y-s:

"Ad Vivum",  Giuseppe Lo Schiavo Photography

I have imagined this photographic series as a journey with no space-time boundaries , a bridge that links the Flemish painters such as Vermeer , Jan van Eyck, Robert Campin and even Tiziano, Antonello da Messina with the digital photography; An amalgamation of the classical aesthetic with a modern medium. I wanted to create portraits without explicit time references, chronologically uncertain. Therefore I asked from the subjects of the photographs to imprison their emotion while at the same time to be mysterious. Subjects whose identity is revealed by peering at 3 emotion filters: the expression of the subject, the emotional reaction of the artist that addresses his vision and the reflection of the observer who tries to identify what part of the subject he wants to grasp. In those images, warm and cold colors coexist which are diffused and distributed through the subjects – in a similar manner as in the pictorial portraits – creating sculptures, motionless subjects, smooth and stiff like marble. The Latin name ‘ad vivum’ is taken from the engravings that some painters inserted under their paintings in order to specify that the painting was painted live.
Zoom Info

f-l-e-u-r-d-e-l-y-s:

"Ad Vivum", Giuseppe Lo Schiavo Photography

I have imagined this photographic series as a journey with no space-time boundaries , a bridge that links the Flemish painters such as Vermeer , Jan van Eyck, Robert Campin and even Tiziano, Antonello da Messina with the digital photography; An amalgamation of the classical aesthetic with a modern medium. I wanted to create portraits without explicit time references, chronologically uncertain. Therefore I asked from the subjects of the photographs to imprison their emotion while at the same time to be mysterious. Subjects whose identity is revealed by peering at 3 emotion filters: the expression of the subject, the emotional reaction of the artist that addresses his vision and the reflection of the observer who tries to identify what part of the subject he wants to grasp. In those images, warm and cold colors coexist which are diffused and distributed through the subjects – in a similar manner as in the pictorial portraits – creating sculptures, motionless subjects, smooth and stiff like marble. The Latin name ‘ad vivum’ is taken from the engravings that some painters inserted under their paintings in order to specify that the painting was painted live.

(Source: asylum-art)

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