Commentary

AURA...the breath of the atmosphere
BLUE-S
Stand out, fragment of a speech.
written on "QUADRI"
PAINTINGS ... and ... hung out reverberations
DIAGONAL ... looking at the places of meaning
Blue
Hints of Art
Marittima - Between Land and Sea)
Blown Arrival
The Flood
Dedication of Roberto Bastianoni
Commentary by Professor Franchino Falsetti
The Sound in Time

AURA…the breath of the atmosphere


“…trovassi al fiume in un boschetto adorno che lievemente la fresca aura muove.”
L. Ariosto

I'm going to introduce a new work by Giovanni Bigazzi, an artist who keeps looking for different languages and  possible understandings with his photograph. I firmily believe that the sought correspondence can be glimpsed, indeed found and then understood.
It 's a work that arises in the perception of senses and  lends itself  to a different and possible interference between images and an inner journey , where the attention stare in silence  the radius of an atmosphere.

I present this work by quoting a thought of the Welsh poet Dylan Thomas , " ... I often  let an image produce an emotion in me, and then I apply it my critical and intellectual knowledge ... ". In the mind, or rather, in the eyes of Bigazzi , subjective meanings and their  "sound" show themselves  only if the viewer see a theme and then diversify natural learnings .
This happens only  if the vision is fundamental and apparently in contradiction, as if to say what I feel is so evident in what I see that I just listen to it and everything becomes magic and desire, and only if my breath allows me to savor the docile wind of a birth or a death , I can choose to dwell and violate the intimate " story". Because the artist invites  to see a story that is rampant in different and possible poetical ambivalences which become images , photographs , as in a scene without a subject , they manage to tell a possible dialogue

The photographs we see are carefully chosen, and not only in their representation, but also in a certain selection technique . In this work, the possibility of a light, of a shadow , a contrast , a variable chrome plating , have a explanatory sense only in thier unity , creating the continuity of an image up to collide with the essentiality of a perceptible atmosphere and the creation of an emotional sequence .His work appears to be only a straw, made of symbols and natural substances , which in the beginning have a shape and later become metaphors of the same identity .
I would like to touch on some of the photos that Giovanni Bigazzi installed . I don’t want to draw a technical profile or a critical judgment , but just a look at the same look that the artist has decided to stop.
The intricacy of images and pint of view in the stages that summarize all the imaginary path, lead us to some statements of subjective character, but also purely emozional.

The decision to draw a symbiontic deciphering  and then be devoted to the figure of a possible myth, let us enjoy any interpretation, but the accuracy chosen by the artist for the spaces and images send us immediately in the subject and in the allegory of the “journey”.

Density of signs is evident in the shots shine through the diaphragmatic and chromatic spectrum and polished grinding of the subject barely hinted; a glimpse of the essence of the form makes the viewer able to racognize the strength and the evironment, such as an antique mirror, where the reflection shows obvious and cloudy to the point of grazing and vary every guise.

The evocation of images is apparently subjected to fragments of nature, or rather at angle of landscapes, such as surrounding zones. The figures are slightly  changed by a primordial wind, where plants rely in white putrid swap or in scrap anthropomorphic wood, exchanging shadows with real substance and living rise to a “journey” of the soul.
These zones, so addicted to attend a time and flee from this through the natural flow of life, push the choice of the artist towards a restless spirituality, but sure of salvation at the same time.

Bigazzi with his photo-zone system,in relation to the assumption of poetry, let the silence and expectation create a fantastic insight, a question without an answer.
The photographs are installed following the story, not the space around and remind me of a 1979 film by Andrei Tarkovsky's " Stalker"; an important work, where the plot is subjected to the time of the images and reign with power and deep sensitivity in the eyes of the observer.
A movie full of photography intented to the story, that’s why I thought spontaneously of this association: the director chooses to place silence as the primary subject to mark the time of his shots. Bigazzi, along the same semantic pattern, acquires the logic and the sense and, with total agreement, brings himself in that same formal metaphor to understand the importance of the subject making it special and fragment .

Giovanni chooses the same "topographic” build to arrange photographs, he enlarges the vision toward the symbolization of the photographed subjects. The artist chooses the sacred legend, the “Aura” surrounding symbols that makes them search for a "Garden of Eden" rich of attendance found in myth and, as a requiem, is extreme with the sign of the element and slightly spreads the placate voices of nature in the deepest.
I just want to add that the high photographic research of Giovanni Bigazzi, in this project, has ventured in a different way to make possible their own needs. The stern tone with which he tries to get in touch with the feeling takes him far away, where the beginning and the end are the same thing, and like a fire slowly pushed by a slight breeze, it can become a bonfire.
And now that the artist has chosen to recount it’s our task to read his images, and transmute the simple fact in a deeper relationship.



"... I would like turn and run
         In the hidden land
        But the noisy sun
            down baptizes
                the sky. "

Dylan Thomas


Massimo Innocenti
August 2013

Massimo Innocenti , January 2014


It \'s always difficult to add words when a \' embraces the idea with pictures and sound in this attempt feels clear what can happen .

The idea is not entirely original, but it is possible to capture a diversity and not so much in the relationship between photography and music , but how in the evolution of feelings, those suggestions that arise from a meeting . And here, in the Blue -s and several meetings were all able to identify possible personality.

The influence of a color, the refined combination between the place and its sign, the sound of a silent moment, and the refinement of a harmony felt between the notes of a broken improvised harmony , give charm to the exact contrast between the vibration of the sign and undulating accompaniment of sounds and words .

Blue -s penetrates the bottom of the notes, from a formal rigor in a broader perspective . A series of surveys and openings that create relationships and ideas and trying to make people feel the inexplicable change of sensations.

The approach of a \' picture and the sound is not binding but is to touch the atmosphere of a time with that and move on to live moments can not be identified , but no doubt tried or imagined .

Here in this new place , they remain parked all the reactive elements that can be exchanged for a place to dream, a time for a wish.

The meeting is stimulus and the Blue in Blues becomes thematic feeding the rhythm and the dialectic of existence , to transfigure the symbol to its original sign, and then invite us to touch those aspects actually recognizable.

And \' here that the idea becomes different ; becomes transcendent , once unattainable , identified in form and continuous dialogue between sound and color.

Blue -s invites you to be there, to be in this place to go to discover her own charm and thus lighten the obscurity of vision , and with the sound of singing , penetrate into the idea and this give rise to a continuous exploration of those visions that are likely to come.

Photography, music, the sound of words , the atmosphere of the space will turn blue and are reborn BLUE -S, and as an Orphic journey underground , unable to see the light only when you become accomplished in the absence and substance to the roots of inspiration , turning into improvisation .

Attending, \"stay in the Blue - s\" cause and effect in a short time, but if caught in the instant it becomes natural substance.

Listen with your eyes and a transit in the incarnate love for the autonomy of the verse and its sentiment.

Angelo Minisci Florence, march 2013 .



The works on display have the ambition to bear the presence of the invisible in the visible and the evidence in the incorporeal body , with a tension of the visible to the invisible and the body to the incorporeal . The project expresses distinct visions of two artists are able to communicate with different intensities, creating two opposing axioms and interconnected, and placing themselves in an area of ​​interest that encompasses the very meaning of culture.

Incipit path / story is given by the beautiful and emblematic Cosmogony of Yves Klein, in which the imprint of a body is returned in the blue pigment , an essential figure of the whole work of the French artist . Following the path winds through many phases and episodes and far by the original .

Sensuality idea of ​​beauty and aesthetics elevate bodies and figures dall'immaterialità of the works and the methodology of work and research . At the same time , there is a reminder of the spirituality of the work of Anish Kapoor.

The emotional strain from a nameless desire , a passion without an object more than the meaning of life . The image vanishes and allows the eye to turn the attention on himself and his own loneliness.
The sign and gesture mark the void and bring out the invisible in the visible and in the incorporeal body . The rarefied and ethereal images enable us to understand the disembodied presence of the works.

Lightness, intangibility and silence are elements of exposure and make it possible to enter into a different perceptual and cognitive dimension . The same images reveal enlarged, some parts of our being that reveals a fusion of light and space environments and atmospheres capable of restoring the mood for a time suspended , blocked .

Both poetic , the photography by Giovanni Bigazzi and painting Zeliko Pavlovic , bordering a dumb lyric and form of the openings on the vacuum , the images seem to steal the physical act of removing the material by a sculptor.

Become strength disruptive hand , color and gesture . It opens a path with monochrome photos only able to narrate their inscrutable story. The characters represented appear as ghosts , caught a distant memory .

Painting approaches to photography becoming an obsolete medium and obsolescence allows knowledge.

Groped for overcome the scarcity of the technique , the self and the other become not only

photography and painting but the representation of a thought with action and deed .

works and immortalize looking for a space ' conceptual ' . The same images appear to change before our eyes , it seems to observe the slight haze of autumn leaves or the changing light at dusk . They tell him to move light atmosphere (considered as air ) , while walking. The dialogue in parallel you will discover the use of the photographic language and in the arrangement of ' objects - photographs ' in real space .

In front of the pictures we stop trying to understand in the invisible visible . Is the attempt to recover the ancient ways of the Mediterranean culture , through decorations and symbols are obsolete . In the works survives the sense of mystery , the yearning for beauty, cosmic pictures and imaginative , the personification of eternal childhood .

Work react to the fragmentation of reality, and are in free association between them. They are fragments of a reality , able to connect through the common imagination . The painting combines a deep meaning in the limited space of a minute pattern , creating a vision that does not reproduce the world, but replaces it and the photo -graphy is indelible mark of thoughts - action . The different characters appear as ghosts, and most portraits that seem to come from a distant memory . And they remain free

all befits what remains invisible in the visible and what is a work of incorporeal . An exhibition without frame , in which space and crudités shooting assert themselves with the power of gesture .. < / p>

Giovanni Bigazzi , march 2013

Zeijko Pavlovic and I, Giovanni Bigazzi , we met and found in the context of the Free Academy of Fine Arts is an encounter that has been revealed a strong agreement and two languages ​​" otherwise similar " . With clear differences in the use of reading materials and proportions, Zeijko through the use of painting and engraving, I through ' processing by a negative or a digital photo .

Unlike similar in the approach of different experiences, but certainly united by the flow of the lines, colors and experimentation in shaping the material .

same experiences in their studies and in their learning , they certainly favored an amalgamation between jobs , encouraging us to interact with the space available .

are strong similarities in the attention to the forms and color balances of our subjects and

a railroad idea of rhythm and light , harmony and matter, thus fusing the different searches .

Zeijko is inspired by Baroque music , and I, being the music another dimension of my work and research, this leads me to a careful balance between images and rhythms in the photograph.

bottom photograph is to give a reading of the elements surrounding each according to his feelings and point of view ... "the landscape is full of signs symbols of hidden things " (Mario Giacomelli ) .

These elements can be translated into tangible material ( painting , drawing or printed photo) and thus could interact with a space, which is within the walls of a house, as in a place outside . In this exhibition was the first time I saw my photographs made ​​in a manner apparently unusual, but this does not have a negative connotation , instead gives an initial awe at seeing the photographs and paintings catapulted into positions and distances asymmetrical , but in actually follow a line of a wave that traces the perimeter of the space .

One way for me to present unpublished photos, but in an alternation of empty and nearby activated , in order to comply with the paintings of Zejiko . Just these voids activated allowed to create a connection between the individual works and make them react in blue, in blacks and whites , colors prevalent in ' " unique work " of ' installation. One

distortion of habit varied in size and especially in reading images of the exhibition space . Our intention is not to create a classic dialogue alternating with photos and paintings , in many cases effective, but sometimes at the risk of fragmentation discordant result .

Our attempt is in wanting to create a texture image with different means of expression , a plot with space stretched out , a place that in its dynamism requires an attention to place the works themselves , following geometric idea and one carrying out asymmetric . These games

volumes , shapes and colors, including combinations and empty , they become points of connection , causing the images to harmonize to create a unique work.

Massimo Innocenti , august 2012

What terms quite simple in their complexity and in their sublimity enough match can create an emotional statement ?

I intend to talk about two features mirror , two demonstrations kaleidoscopic lonely

that are suspended in a rarefied emotions, where the wonderful diradazioni are transformed into substances and materials , in endless mirrors and scemati by a continuation of the image. Potentially

is evident , as it is simple , the self and the other reflections in a single dimension , but in the middle, in the middle of the substance in artistic choice we expect a language, a voice that does not get depressed , but that remains unifying vehicle to give us splendor and sounds through the silent noise of the epilogue of the time. The case is that two artists attempting to cross the rarefaction and do not choose to technical similarities , but as for different principles : one is the reflected image and photo- grafata , the other painting as infinity , a representation of a thought as thought .

slip that the two artists are trying to prove , born of a possible reversal of provable that makes them load balances to the point of tracing the same path , with respect to the common aesthetic sense, you go to arrovellare in mild scenarios almost traditional , almost , pictorially speaking, prospective , but instead they use a total difference marking a semantic distortion , making them next to each other without stirring language , and where it becomes necessary , take over the case, which of course has consistently intromissivo its own rhythm , as if to reclaim his , the case law , a kind of plot, in a relationship between two people , but not predictable . In this emotional speculation the likely similarities represent a form of exercise , it seems a literary composition , or rather , a harmony of signs and words seasoned with matter and substance : a chance Baroque and informal , until that real metaphysical Orphism , which leaves decay every possible effort to denounce any possible disinpegno .

As for the work of the two artists we can not identify the similarities , because these would make any attempt poetic , rather than the need to grasp what are the variations possible similarities and differences and the attempt to break a path with an organic feature of expression. The choice of paintings and photographs, are not a finding of interpretation, but as a transcendent value that goes to wedge in the case and in a vacuum, to demonstrate a path unexplored, but accurate and well detailed , where function and growth damage at the time the precise probability of randomness . So doing the works are cultivated its own ground , forming limits and invisible at the same time penetrable to the point of re-envision the limit. < / P>

Giovanni Bigazzi uses photography , painting while Zeliko Pavlovic , both working for years in separate searches , but the opportunity to contrast their issues in a space, or rather, common language, has made them subjects of a landscape inarginato .

The peculiarity of Bigazzi is in its very \" elementary \" , articulated in detail so that every photograph becomes continuous research in the absence of presence, such a change , like a vortex of flies before a storm , any purity in a natural condition . Then travaricare every possible line of demarcation and get a story faithful to the mystery of emotive language , inevitable part of the unknown that exists in a possible truth. And it is as a presence that goes beyond the limits, to recognize an asset that is not only intoxicating colors , but that refuses sentimentality that falls nell\'intimismo and can scadenzialità a likely spectacle of himself, but instead look and still images divulgatorie d \' charms inactive , giving voice and sighs , and then begin the existence and reach a thread that unites, as a chimera , the metaphysical illusion of a possible unexpected time .

Zelico is a painter, he painted the mind in its past, but voluntarily recalls how intuition identical to the starting point , in so doing draws from his experience a \' compelling intuition that makes stem the story then head to an infinite abstract . So , he feels , not only the discrepancy between the real and its mathematical proof , but as his own truth by an original unity as a universal source and where the simple blending of lines and rhythm, go to forge a space Daedalic equal to the most arcane architectures mental . Do not choose the mystery or the unknown, but as the hesitation shown by the observation of a moment, and its spread in geometric properties , living constantly irradiation emotional , looking out at the time, increasing the square of the distance from the body to a genuine proportion imaginary , so finding an absolute original .

In the interconnectedness of composition and in its range , the two artists try to represent , you can insert spaces settling of a unique poetic element which does not derive from a single , unknown harmony, but as a possible suggestion analytical . Areas of synthesis in lower places , moments of district funds or acting as scenes of the main scenes , paintings tratteggianti meanings absolutely invisible and , at the same time , reflective , to the point of telling mute feelings and color notes .

Hence the feeling that hovers between the inviolable circumstances where participation , finding the right size between a silence and a colorful sparkle fading , it proves itself parallel to the poetic , inviting poised to dwell in a phenomenal view of the inner blindness . In this variation of combinations is possible to search for these artists, or rather , their superposition of infinite frameworks that tend to widen more and more in the mysterious twilight , where to find each fracture is canceled in accordance with the use of an option , the prince : quell\'aurora timeless sound that celebrates the spirit.

This duplication creates two orders of view , two parallels that simply seek the means, what is indisputable and the space between them of a possible revelation , a truth without dogmas or prejudice, but just trying to look for a character that drags conductor the condition variable to a desired stop . Both hypotheses for investigating and advancing , leaving uncovered all those signs and sensations that were used to decipher the correct proportions and outbursts of infinite charms . What a plot of a story , no subject, looking at a character likely to tell and interpret the direction of a possible dialogue . So , what is the fact ? Not only in what proves that we prove , but as a conceivable conclusion that we can not deny , even if that denial is just the value of what we see in this attempt , but only to deny it , the conclusion makes us sharers this trip out of a deductive experience . But it is outside of the veracity poetic logic of their search, and this idea is pleasant, debatable, but certainly not appealing precisely because it demonstrates an ability to track who knows what conception of logic or plausible , but to find the point infinitely away from a circle to its poetic axiom of attraction . It will be readily feasible

not understand this attempt , but the condition and value of the two artists can delucidarci any shade and if there is a discrepancy in their research , this is looking for : disjoint harmonies to run in the shade dell\'irrelativa emotion and perceive the uniform irradiation is going to stick everywhere .

Therefore , this work , this work , and because of that we will be working only spectators of a single path that manifests itself in all its intention narrative , where you can reflect on that modus scribendi the shape and its size , history to confirmation of certain constants that spirit to the body you make images and thoughts. Images and reflections are all born from an intuitive faculty , from a mother who is the origin of all sciences and mistress of the imagination, that between the real and its opposite , lets entertain the preambles to bump up to decant the possible appearance : so here\'s the feeling , that the universe , the Earth and we are immersed in it.

\" ... the last horizon prevents me .
But as I sit and gaze, boundless spaces
beyond that , and superhuman
Silences , and deepest quiet
I in thought I pretend ; ... \"

from “L’INFINITO” by Giacomo Leopardi

DIAGONAL… LOOKING AT THE PLACES OF MEANINGS

I’d like to start my tale with the visionary Baudelaire’s description of the modern poet seen as a ragman: “Everything the city throws away, has lost, displaced, crush under its feet is catalogued and collected…
Ragman classifies and carefully chooses all the things found; he accumulates, as a miser who keeps a treasure, the garbage which will assume the form of usefull or rewarding objects between the jaws of the goddess industry.
Baudelaire’s metaphore brings us to the crux of the problem: can we say that photography is a readymade or not?
There are, from the start, emerging key issues about both  areas: the image of the flaneur who runs through the streets abandoning himself to the case and, guided by the unconscious, carefully chooses and  collects the found objects with an instant gesture, is  significant for us.

People is normally wont to perceive and identify “things” through explicitly identifiable photographs.
Giovanni Bigazzi’s work is a singular point of view creating shots with reflexes of moments and not always recognizable places.
He offers us a real journey, not only to represent landmarks or discover ridden corners, but to grasp and draw situations sometimes elusive to careless eyes.

Bigazzi, choosing this way of work, represents the world of Real, not through the memory that we all have of it, but through brand new authentic shots of istantaneous images reflected with overlapping effects. I’m not talking about double exposures or reworkings of photographic post-production, but  perceptions and photographic cuts fixed and defined in their completeness in the very moment of the photo shoot.
We found the lens of the camera concentrated on details and on every single moment and offers us particular and special visions. We often found situations opened to ambivalent readings in the relationship between  figure and setting  and between the strange and amazing photo effects. Sometimes, even the author is surprised of this  "writing with light". It is also a way to bring into play different visual stimuli through perceptions, which are real and truthful in representing the sense of place., being partial and fragmentary or  rapid and fleeting. The moving and  temporary parts in an urban context are as significant as the stable presence. It is a way to gain new experiences and learn about the real world through parts that can later be reconstructed with images taken and related to Situational individual moments, without losing sight of the whole environment. This is therefore a way of looking at places and objects, not just a way to get new impulses and sensory interpretation.
We can easily gasp the poetry in  these shots and fragments of vision, people are emotionally affected by the sunlight captured in magic and  unrepeatable moments and this is certainly a dominant  aspect  theme, as a process of unveiling of the "show" of the nature: the gently  rhythm moved by  rippled water and the the void filled  of colors.
The emotional component of the work is as intense as the research for color values and the possibility camouflage and transfiguring of photography. Peculiar signs of painting emerge clearly in the images dedicated to water:  the vibration that comes from the contrast between shadow and light areas overlap in the research for a particular shade of color that fades from blue to gold and from red to gray. The viewer can find the same pictorial taste in the other two sets of images: with a  slow and contemplative rhythm, they return to compete in a research which has tones of refinement and a visual and emotional refinement.
A visual detail, emphasized in the printing process, loses its physicality and its sense of the whole, to which it belongs,  and dissolves itself  into two , in a sort of immaterial, just to communicate a new sense of belonging and identity expression. The subject is rationalized by subtraction, through a representation constituted by few elements of an intense color.
The works of Giovanni unite figuration and abstraction, in a continuous and uninterrupted exchange: the figuration is the referent of the shooting, abstraction is what becomes the reproduction separated from the original photographic subject. Also they share the story and iconicity: the story is the recovery of reality according to an itinerary of narrative sensibility that occurs with the collection of visual images;  the iconicity is firmly deposited in the selected images.
This is the thought of things; the obvious solution would be that we have thoughts about things, but what about if  thought is exercised by things.

The things  think, then.
Little things: things overlooked or insignificant for their alleged insignificance and triviality, because of their smallness in fact. The sense of where we would like to start and on which we would focus attention not correspond to the meanings of "narrow, cramped, secondary, irrelevant" but rather refers to those "tiny, humble, resigned, ordinary, everyday , family. " In this sense, we assume that what is small is dear to us because it is domestic, domesticated or tamed and also because it speaks suggestively - on a small scale, in fact - of what is great, that is important and relevant for us, for our lives immersed in a seemingly banal everyday life but also crossed by relationships, projects and values that we care about and for  this reason they are great: they are individually for each individual and at the same time acquire a collective and shared valency, projecting their shadow to the people.

We should not feel the need for a spirit of time, but rather the need for an attitude of "conscious" and responsible. Giorgio Agamben writes in "What is modernity": "... but what sees who sees his time: the insane smile of his century !?."

Massimo Innocenti, december 2010

Blue,like the infinity sign which draws the viewer to it, like Hesperides’ garden where grew the golden apples trees grew, here I am in front of the photographs of Giovanni Bigazzi. Images that dominate any possible violation of the suggestion and that scan this deafening noise that only the silence of twilight can feel. Sinking like shadows, these new shots of light leave the disorienting moment to the point of not feeling anything but the sense of the possible limit that divides the time from its own moment. Amazing photographs sweetly slumbering in their own uncertainty, till the point of arousing a dark desire that stays among the shades of night. At night they appear disjointed, almost confusing the twilight with the dawn, to accommodate the geometry with the melancholy. Bigazzi learns more and more of the gentle atmosphere until it touches the awakening and hides it with the endless sleep of the earth. He captures this sound and plants the invisible outstanding arch that pulls the secret wind of dreams and from that he chooses the highest contrasts of the vault of heaven. Giovanni has learned to freeze its dynamic mnemonic tangle and he has made clear his amazement, looking between the lines and shapes of uncertainty, the possible reason of life. These pictures are blue, and do not hide anything about Blue, but they let us taste every subtle fading of blue, till searching, among the streams of the pavement, that clear light that only the night lets us see. These photos give the darkness a possible clarity of the shadows, holding the magic enchanting declaimer of September stars, of red gleams until the last curtain of private houses falls. Bigazzi’s pictures all rise up from the road, on the other side of an imaginary line that Giovanni with great skill allows us to glimpse, by scanning them up to a sublime consecration of a celestial advent: a blue line of a sign. Looking at these pictures, I feel out of time, and indeed, they suspend my time to a far cornerstone of the horizon. In these shots I can see the sign of order and imperfection, and I perceive my own story, a bit like meringue. But like any limit, it forces me to remember the end, leading me to that clear patch of sky reflected in the puddles, that like the last foot, before the race, refusing to move. Water and air, road and field are the emotions, but also represent the place of these blue impressions, photographs raked in the night, between the wet appearance and the warm lighting of everyday quadrants. Giovanni has put everything in these shots, but most of all he has dipped into his heart till he reached the poetry of “Life of Heaven”, from which he was able to capture only the essential move that has given the right reflection. These photographs are the face of suspension and if you observe them you can discover its eyes, and the face of the night will be next to it, like Giovanni has been a companion and a seducer till he has discovered their purpose.

Giovanni Bigazzi, april 2010

 

I don’t care about Time.

It is the expression that is important and the sign that it may leave, which is either way a split second or a prolonged waiting…

My line of the horizon stands just wherever I watch!
I do not feel as the creator of my art, it’s the Art that calls me.
Every time it presents itself to me, in that moment I become an instrument to get in contact with it, a wide and unpredictable entity.

I am a tool of communication with Art and I just can only catch a fragment of it, whenever I feel disposed to do it and sometimes I can make its light touchable on a piece of paper.
Art occurs “before” and “during” my will, I don’t decide that, it’s Art which throws its beams when I see and recognize one of its signs on the edge of whatever I feel or I wish; it can be sea, land, sky, soul or breath.

Whenever you are moved by a sign, or feel its call, this is the moment to organize the data in the selection of targets’ shot, decide a point of view, watching the clear and dark sides and the possibility of relationships between elements that occur to the photographer’s eye.
This is my position, the choice that makes my picture unique through the different phases from inspiration, to the shot and finally the press.

Paul Strand, in 1917 stated:

“It is in the organization of this objectivity that the photographer’s point of view about life enters in, and a formal conception born from emotions and intellect, of both it is so inevitably necessary for him before making an exposure as it is for the painter before he puts the brush on the canvas…
Objects can be seen to express the causes of their effects, or can be used as abstract forms to create an ‘emotion that is independent of’ objectivity.
It is precisely here that honesty, no less than intensity of 
vision, are the prerequisite of a living expression”.

It’s the creative act which is the mainspring, it is the emotion that is brought up from your stomach to the mind and leads you to an action.
Right there Art is calling me to pick its fragments up, to capture its nuances with my focus.

This is the moment where it feels like an oscillation, a crucial move that leads me to follow the “hints of Art”.
The gift of sight is essential for those who want to communicate with Art, using photography as a technical and an expressive means.
My camera is a tool handled by me.
The SLR reflex in my hands becomes the vehicle of an expression that is mine, and then I change from being a common guy into a vehicle of an expressive entity that stands above us, that is Art.

Either way it can reveal itself to me in a sound or in a vision, I’m just one of the possible tools of its communication.
In my opinion, Art reveals itself in Nature.
The light, the sound, leaves still or in motion are the manifestations.
Nature with its elements, becomes an ideal wall for Art’s projection.

What Nature calls and unveils Herself to us, I can capture her revelations with my camera and then I can give them to everyone with my interpretation.
I’m captivated by a sign, by its appearance – it could be a rock, a root, a reflection or a billowing flame – those are visible items for me, but some people may find themselves, listening to the sea or watching a moonbeam, perhaps with a smile in their faces filled with nostalgia.

It depends on the individual ability to “catch them” and “collect them”, even without a technical means, sometimes only with the imagination, as Massimo Innocenti writes, you can find yourself in the middle or in front of the sea that looks like a “flower garden”, and the individual who knows how to look for “feeling”, may come to recognize it and decide to catch it and begin to surf the waves or walk in its paths.

Massimo Innocenti, march 2010

 

In front of the edges, where the volume of the sea extends and aims to reassemble itself into a blooming garden, the signs of Time are barely recognizable in the roar of the surf, rising to the surface, but these signs don’t hold the sense of Time. To look at the latest of Giovanni’s pictures is like being wrapped into this garden. A Sea of variances that could express themselves almost to suggest limits, like soft and inconsolable whispers that the sea breeze flies over the meaning of existence. New and diverse works, but at the same time they remind us of his original style, to that bit of technique that he learned and from which he developed every piece of expression. The pictures that Giovanni presents in this exhibit, rise up all from the sea, with chromatic nuances that go from absolute black, to a cobalt blue finishing in a melted blue… All these shots rise up from that insuperable site that stands in front of his eyes and provoke his deepest emotions. They make him feel like a colorful creator of gorgeous vibrations, where sweet awakenings reflect themselves until they catch starry twinkles… Giovanni’s photos seem to hide a reality… What kind of emotion could this mutation of senses be, if not hiding reality to discover itself? From the heat of passion or a breath taking sunset? In these new photos, you can feel the sound of the essence of natural reality. Marine nature to Giovanni represents the ensemble of emotional differences, like hints that preserve their own aspect and then they grant it to the observer. Bigazzi doesn’t stop only at what he sees at first glance, but he sets himself up to the sound of his eyes and he redeems himself with them. He aims to a character, to a stone, a reflection of a beam to every kind of being that might amaze him. What Giovanni is interested in is not catching the moment, but making it come alive and maintaining the sense of traveling, because of the constant rustling of water and salinity. Giovanni fakes, and this judgment could sound awkward, but if faking brings him to the trail of his deepest emotions, that’s fine, because when he fakes he’s seriously a maker of his Art that is an expression of both his strength and his weakness. Giovanni is a photographer, an artist hopelessly attracted by his emotions. He gets every bit of support from the marine elements that tells us about a border. Giovanni feels simple and true and he’s free of faking the reality of his experience. These works are different from each other- the technical side fine and inviolable- but at the same time they hold back the purity that is made of feeling and not appearance. It would be easy to be technically polished and to enjoy the skills of what you’re capable of doing, but that can’t be enough for the artist who is good at listening to the noise of Time and through it, makes words fly and then slowly fall down into images of hidden sounds… Giovanni mutates like the wind. He turned the cuff of darkness inside out and along with it the dress of light and he walks with them at the edges of the Sea, that could seem to be a garden made of light, shadows and eternity.

Massimo Innocenti, september, 2009

 

Seeing is more than observing.You need to feel and throughout this sensation, let yourself be enchanted.
Giovanni Bigazzi’s matters not to me, I’m here again to perceive his emotions, his “disconnected” relations that he follows every time his interest is captured.
With affection and an accurate conviction, I’m attracted by the emotional sound of this latest work, surprised and almost positive of this certitude and, if I can dare share what Proust said about the artistic creation:
“True books are sons of the silence and the night. The man who writes, paints and composes, is not the same man that has dinner in a mansion, converses with friends, writes them letters or relates with them talking of his own confidences.”

I try to think that these latest works of Giovanni are a hint of his being  different, double, almost a pulsing meteor who struggles into time that is not looking for the exact  concentration to achieve a goal,  expanding as a magnetic fluid towards the unexpected.
These works vibrate, confuse the idea and regain possession of the real sense of the instant, as if they lived into an eternal nocturne, where just the secret’s light, the light of the hidden can make you feel the glimmering of the shapes.

Giovanni Bigazzi chooses water, shadows and the upside down trail of the “universal flood”.
He prefers the instant after, that invisible trip that appears behind his shoulder, beside, as a shadow that follows his cold reflection.
The photos are different from each other,  remote times and distant places, almost opposite, distracted but close at the same time, dark and clear, color and its opposite,  kept simple for the emotion of comprehension, a metaphor of an immediate contemplation.
In these photos that Giovanni unifies and allows them to remain distant at the same time, he gives to us the possibility to comprehend, like the words of a fairy tale that absolutely becomes musical.
The music of floating, into the immanent rhythm, comes out of the past into the present, the voyage and its antithesis, its memory: it passes
through time before the event and the moment right after, happens.
These photographic works are like two tales that contrast in just one event, holding back a beginning.
As many fragments, they divide themselves and they “get lost” into a process of Self Realization, until they rediscover themselves into the essence of Nature.

It is as if Giovanni has surprised the physiognomic Nature right at the instant of its reflection with his pictures.
A fluid and evanescent movement spread through the substance, the transcendence of fragments taken straight from images, so much as to catch the key to tenderness, moved by the arch of the horizon, until it achieves the lonely reflection as a unique prospective.

These works enhance the silence and through the silence achieve a slow path, a destination crossed by a soft breath of wind that pushes the impassable towards the loss of its own limit.
Pictures translated with an acute language, but brimming with perceptions and emotive impulses, almost distracted, but immediately taken up again by the slow fluttering wind.

Giovanni Bigazzi loves the enchantment of his primitive spontaneity from which he portrays his own dilemma, his creative disorder that walks him among the curved trails where waiting follows his shadow, that bright night that shines on the blinding lamp of a gentle flinching of an eye.
Fluid as water, the occasion becomes suspense, air, the tremble of waiting and right there a whisper stops the emotion forever.
Giovanni’s pictures arrive for leaving again, brought by the gust that will be there in a little while.

Giovanni Bigazzi, may, 2009

 

Last time I was “chasing images”, I found myself in unusual scenery.
Since I was a kid, I have always been fascinated by the water as a natural and  visual element that interacts with my glance, the wind, the sun and each component that could be “touched” by the water.
I’m absolutely positive that if you want to fit in harmoniously with each landscape you find yourself in, you always need something that arouses your attention and impresses itself upon your soul.

It wasn’t the first time that the rain left a mark on a sunny day, but I would have never expected to watch a flood in a parking lot and to realize how water could act as a mirror for the lines drawn by man while at the same time reflecting the cement below wrapped around by the landscape.

At first, while watching the environment, everything around me looked incomprehensible.
I got involved and I felt the need to create a connection between me and this weird scenery that was surrounding me.
So to encourage my “catching of images” I thought: “Let’s do an experiment, something unusual, why not, pretending that the water was still vibrating after the storm…”

So I tried to give my interpretation to this captivating environment, trying to see a close connection among the wind, the soft motion of the water and the symmetry of the lines underneath.
Shot after shot, I realized that the lines drawn by man, because of the softening of the water, did not look like a disturbance anymore, but rather changed into something that melted into the landscape, making the scenery unique.

I started to move around these pools of water and while I was moving my feet to change my point of view, through the lens of my camera, I was impressed by the power of the water and how it can enhance visions and provoke amazement, sometimes simply with imagination.
As I watched the lights and shadows extend over the water, the cement below absorbed more and more of the greenery surrounding the parking lot, as if Nature wanted to regain possession of a man-made territory.

The numbers did not look like recognizable signs anymore, but became chromatic sensations that left space and suspense to the mystery and so Impossible became possible.
Inspiration, camera shot and project end up with a vision of an Ego-physical, an Ego-dreaming and an Ego-reflected, of a man that needs more and more to re-discover himself through contact with Nature.

Roberto Bastianoni, december 2008

I saw John move from early childhood at home and grow in an environment full of cultural stimuli of all kinds.
His blue eyes watched the careful multi-ethnic world that revolved around the figure of his father , Giancarlo , indisputable genius of Italian music.
Rich interests , curious and surprising, " John - boy ," a day pretended singer strumming an imaginary guitar , then chose to paint , staging exhibitions hanging at a wire in my garden , his drawings in a continuous search exuberant .
Then , rising , he began to take an interest in photography and now the first pictures revealed an innate sensitivity to the composition of the image together with a constant commitment .
content have become increasingly sophisticated , revealing moments of inspiration .
John has left nothing to chance: he decided to attend a qualified school , to learn about the technical aspects of photography from black and white to color, always more interested in improving its training .
Today uses both analog and digital systems and its recent exhibitions can be seen as capable of perceiving emotional content also new in apparently insignificant to many, with results of considerable emotional impact and communicative.

Franchino Falsetti, Art Writer, october, 2008

 

The choice of photography in many cases places itself as an alternative to painting, and the photographer tries not so much to reproduce images, such as episodic or automatic flash, but to track in the object selected, symbols and metaphors that belong to reality.
It is known that photographic technique  hides secrets and tricks of 
vision for understanding or alteration of different meanings. 
Photography is not linked with the truth.
The photographic image is a source of manipulation and everything is based on the game of tautologies, redundancies, repetitions, the omitted, and/or self-censorships.
The young artist Giovanni Bigazzi competently uses the camera, both with classical traditional lenses and modern digital tools, showing knowledge in enhancing the visual space and choice of contents that mostly consist of the presence of a natural world, unrelated to everyday life and to objects that are stereotypes of consumption.
It ‘s a smart operation because it allows the technique to treat photography as a medium, investigating almost a form of a question of what we see in relation to our imagination.

His pictures are like small fragments, findings of fact, ways of writing not only with the perceptive eye, but with sight and hearing as well.
The images of Giovanni Bigazzi are visible by listening to them: their semantic dimension  involves our senses, urging a close relationship between sight and hearing.

The prevalence of black and white increases the degree of attention and reconstruction of the environment and scenery that gives relief to the background and objects placed in the foreground.
Its nuances remind us of those ones typical of Ansel Adams, rich in depth and sophistication in details.
In the production of pictures of this artist, you can also perceive a message that we can consider prevalent and recurrent:
To choose Nature and its objects to get the feeling of being the subject of Time and its eternal process of renewal and discovery.

Massimo Innocenti, december 2007

 

Speaking of Giovanni Bigazzi’s photography is not easy for me, not because I cannot relate to it, but because all that Giovanni has done and he is doing is near to me and somehow I feel like I must face something that joins me to him in a strong friendship.

Giovanni’s works are not photos, and with this statement I do not want to disappoint anybody, but I feel in his photographic research something that goes beyond, which tries to exceed the usual stereotyped “appearances” that only support a critical analysis.

Looking at Giovanni’s pictures is not enough, we must comprehend the reason for his choices to understand what he wants to communicate,
where everything can be different and the opposite of what it seems.
.
Giovanni Bigazzi listens to the time that is he is presented with and he always feels it as if it were the first time.
The sensation perforates him and makes him naked, and if I may say it, a little mad.
A primitive “madness”, “childish” in the real value of the word; beginning, a first choice; something that comes from emotion; the premature anguish that holds back a child’s joy.
He is there at the right time, without any research, but with a strange curiosity that makes the amazing “game” that is the nature of things accessible to him.

Giovanni Bigazzi is a photographer, an observer who prefers the moment to the hour and listening to the sound of time, instantly stopping the colours with the click of his shutter.

Giovanni does not choose the tone, it is Nature that chooses for him.
It moves from the colours to the essence, from black and white to the kaleidoscopic variety of the impression.

He is a “macchiaiolo” who is carried by the sea wind, his vision remaining pure without drifting away in the details of daily life.
His landscapes are the mirror of his vibrations, filling his mind with the glow of light.

Giovanni’s pictures had a manifold evolution, born from the attempt to be part of a whole, where the setting gave to the photo its correct placement and then slowly moved away from that point, throwing itself into a careful and emotional spontaneity.
Now his pictures speak for themselves, they do not look for support, but they announce their message through harmony, melting the viewer in the chromatic palette of experience.

Giovanni Bigazzi’s pictures reveal themselves, swaying in the trembling of emotion and like a pendulum they balance each other through the tick of the time.
In these pictures Giovanni is found by nature, it surrounds him and holds him in an involving dance of feelings. He does not censor anything, but he observes the “face” of simplicity.
Nature observed by Giovanni is already a work of Art, he has the merit of joining it in the wind song; an immediate emotion, a photograph.

His way of speaking has the feeling of preserving time. Giovanni Bigazzi does not search, he finds between the folds of light the fluorescent dazzle that leads him to stop and feel the song of desire and in that moment to go beyond the illusion.