COCKTAIL SERIALS (2016)
The real difference between a movie and a TV series is the time of narration. This work is in praise of slowness; we imagined sitting on the sofa at the end of the day, and enjoying the cynicism of Rust Cohle, the ruthless careerism of Underwood, the icy beauty of the Queen of Dragons without the breathlessness of running. A slowness also imposed by the search for the right frame to freeze, print and use as a backdrop, the search for props, studying the shot, finding the right light to blend the elements together. The language used, contaminated by a cinematic universe that is more about the world that surrounds the "product", synthesizes in an image that informs us of the emotions of a moment, of a character well-known but non-existent in the real world (as an image; we perceive his presence). This visual journey is sewn together from a series of original "Quotes" from the characters that complete the deepening psychology of the characters.
Giorgio Cravero | About
Giorgio Cravero was born in 1975 in Turin , where he lives and works. Graduated in Visual Communication at the European Institute of Design, he began his career working as architectural and still
Moving between traditional photography , digital and new technologies , he often combines several techniques to emphasize and communicate his way of perceiving objects and space , using light to describe the shape and materials .
In 2012 , after having been partner for two years , he fully acquires Studio Blu, one of the oldest and most prestigious still life Studio, selecting a team that can provide a unique visual language declinable on different media. He also completely renews the Studio , creating a structure able to follow every part of the workflow, from creativity to production and post-production. Lately he’s more focused on Food and Beverage photography.
In 2016, winning the Hasselblad Award, he became an Hasselblad Master.
The pursuit of perfection is one of the biggest obsessions of contemporary man. The magic of the "whole" lies in its completeness and can only be characteristic of nature as a whole, not of man in
his individual specificity.
Giorgio Cravero’s research starts precisely here, the pervasive goal being to reach some form of perfection. An obsession that chases after the relationships and balances: man and nature, nature and creation, creation and man.
The incessant dissatisfaction, the sense of lack and inadequacy are the propulsive spring and the thrust of man upward and toward the other.
The psychology of the author is inseparable from his work, where aesthetics, at first glance perfect and at times exasperated, leave the observer satisfied upon a first observation and satisfied by the shapes, represented in their best version. The care in moulding light and colour, the composition, technique and medium give us a visual imagination that is accurate and faithful to our idealistic concept of reality.
Here the author’s commercial path is inspiration and nourishment for research, with a daunting effort to achieve consistency. Advertising language has formed the gaze of the Western world since the beginning of the 20th century. With a work that is almost pedagogical when it comes to its constancy and continuity, advertising has shaped the way we see of entire generations, indeed teaching us to look at reality, but also to idealise it.
The attitude that drives and binds the photographer’s production and in which one can a irm that "advertising mannerism" o ers the viewer the best version of the subject stems from here, giving the audience the object in its idealised form, where there virtually are no flaws or inconsistencies. The viewer is satiated from this first aesthetic impact, satisfied to have found a reassuring and at the same time subconscious connection between the work and his glance. The instantaneous initial satisfaction, however, leaves room for lingering thought and reflection.
The magic of the work begins rather to become apparent at second glance, which delves deeper into the different levels of interpretation. Art is made of feelings and emotions and the relationship
between man and photography resurfaces here with assertiveness.
The perfection of the shapes carries within itself the question about the relationship between reality and man, feeling and the artistic abyss here come to life. We are faced with our limitations, which are then sublimated in the artwork. The artist reflects his personal inner journey into the work, seeking for the point of contact between art and advertising, between reality and fiction.
The work becomes the surrogate of a lifelong goal, the best face of our reality and gives time to the observer to internalise all the inconsistencies that the pure concept of "perfection"
naturally carries with it.
Giorgio Cravero's obsession for perfection is the trigger of his research which, by definition, will never find the answer to the question about the relationship between reality and our perception of it, but it will be as it has been in the past, his tireless way of looking at the world.
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