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 !?."