Small works at booth 211

This year at Art Miami, CEG is featuring several artists exhibiting work smaller in scale. We hope you’ll stop by the both and experience these intimate pieces in person.

Marina Black

While you held me
While you held me, 2015 © Marina Black

Marina Black’s photography is about experimentation and the physical process of reworking the surface. She works in analogue, digital and camera-less technologies and likes the tactile qualities of prints, and dealing with fragments, that often take her to a new place. She states: “Inspired by Goya’s Disasters of War, the imagery from the series Hasard Anticipé may be associated with manifold of inward and outward conflicts. I would like to comment on moral questions that emerge from the knowledge that harm and malevolence occur in both worlds: outside, and, to an extent, inside our minds.

“Portraying children rather than adults feels like magnifying fears and scars of childhood. I like the confrontation they create, that is simultaneously suggestive of tenderness and cruelty. I am interested in investigating the complexities of the childhood world, and how susceptible children could be to mental and physical injuries. While there might be joy in childhood, there are also bullies, strangers, loneliness and conflicts to be negotiated.

“All combined, I like to subvert the sanitized notion of children as innocent beings, removed from and unaware of ambition for power and control. The images, populated mainly by the youth, represent dark forces akin to spirits or villains from childhood dreams or worse – the incarnations, that exist inside our minds and might never entirely mature.”

Marina Black originally studied History and Painting, then art has become her primary preoccupation. Black received W. Lawrence Heisey Graduate Award in Fine Arts for outstanding achievement in creative & scholarly work, as well as a number of Ontario Arts Council grants. She was a featured exhibitor of the CONTACT International Photography Festival. Her work has been published in Eyemazing Susan Vol.II, curated by Susan Zadeh; FOSSILS OF LIGHT + TIME, curated by Elizabeth Avedon, an editor of L’Oeil de la Photographie; Mercy project, curated by a photographer James Withlow Delano; and BURN, 1st edition, curated by a Magnum photographer David Alan Harvey. Black’s work has been shown in solo & group exhibitions worldwide and reviewed in numerous fine art publications. She maintains an active art practice both independently and collaboratively working with artists from different mediums. Her photographs are included in the public collection of Heritage Municipal Museum of Malaga, Spain; in Alliance Francaise in Canada; in IZOLYATSIA non-governmental arts foundation, Ukraine.

Clarissa Bonet

Screen Shot 2018-03-27 at 3.13.54 PM
SL.2018.0222 Chicago, 2018 © Clarissa Bonet

 

Building facades melt into darkness, their architectural details vanish, leaving only glowing windows in a sea of pitch black, like stars in the night sky.

Stray Light is an ongoing photographic project aimed at imaging the nocturnal urban landscape. We have all but lost the night for our progress. In its place we have formed a new cosmos, one of vanished surfaces and flecks of light. Carefully constructing each image from multiple photographs, I reform the urban landscape in my own vision – one that seeks to reconstruct the heavens in its absence above the cityscape. Light emanating from each window references a world unknown, evoking a sense of mystery and awe. We no longer look up to the night’s sky with awe. Instead, that is how we look out at the city.

Clarissa Bonet lives and works in Chicago.  Her work explores aspects of the urban space in both a physical and psychological context.  She received her M.F.A. in photography from Columbia College Chicago in 2012, and her B.S. in Photography from the University of Central Florida. Interested in the physical space of the city and its emotional and psychological impact on the body, she uses the camera to transform the physical space into a psychological one, providing a personal interpretation of the urban landscape. Her work has been exhibited nationally, internationally, and resides in the collections of The Museum of Contemporary Photography’s MPP collection, The South East Museum of Photography, and The Haggerty Museum. Most recently she received the Chicago Individual Artist Grant and was curated into a group show at Aperture Foundation Gallery.

Pete Jacobs
Four Cuban Men
Pete Jacobs lives and works in Chicago.  Born and raised in New Haven, CT, he attended Wesleyan University, graduating with a B.A. in English Literature. A published poet, he has received, among other awards, a National Endowment for the Arts Fellowship. In recent years, his drive to experiment and innovate has steered his interests towards the visual arts.

As a photographic conceptual artist and a painter, he often portrays a vulnerable humanism. His multi-panel Tableaux series transforms the worldly—a tightrope walker, a laughing woman, a collection of prosthetic eyes, a text statement on unrequited love—into strange and illuminating melding of expressionistic color fields with ghostly underlying imagery.

In these visual narratives, the viewer experiences both a sense of fracturing into parts and a coming together as a whole. As with chapters in an unfolding story, the eye lingers on the contents of one panel and then is drawn on to the next in a progression of hue gradients and the linking up of the image. A tension hovers in this attempt at unity never fully realized due to the spatial separation of the individual panels.

Laurent Millet

For more than twenty years, Laurent Millet has channeled his innate curiosity to create photographs that question the way objects appear within space and time. Citing R. Buckminster Fuller and Denis Diderot among his influences, Millet creates an artistic vocabulary through metal wire, vineyard posts and barrel hoops – objects prevalent in the coastal town of France in which he resides. There is a rich history of artists constructing environments simply to be photographed and then disassembled. These created realities were prevalent in the 1980s, as works by Sandy Skoglund, Bernard Faucon, Bruce Charlesworth, James Welling and other artists burst onto the scene. All of these artists worked with objects to create a narrative, captured by the camera. Laurent Millet (b. 1968 France) continues to work in this tradition, using various 19th c. printing techniques to magnify his vision.

As he stated in a 2014 interview in L’Oeil de la Photographie: “I felt like I had to take refuge in something that was comforting and reassuring… This idea brought me back to what I did as a child in the countryside when I would play with wood and stones. I rediscovered that pleasure as an adult… Starting with the first things I built, fishing machines, I felt like a world was opening up in which I could really exist. These objects are powered by my personal fictions, my dream of another life. The photograph is proof of that, a record of the moment, a reward.”

Laurent Millet’s work can be seen in numerous publications including his 2014 book, Les Enfantillages Pittoresques (Filigranes Editions) and in major museum collections, including The Art Institute of Chicago, Maison Européenne de la Photographie (Paris), San Francisco Museum of Modern Art, Los Angeles County Museum of Art, and Fonds National d’art Contemporain (Paris), among others.

You can see work from all the artists featured at booth #211 here.
For more information on the fair, visit www.artmiami.com.

Catherine Edelman Gallery at Art Miami 2018

Booth #211

The Art Miami Pavilion
One Miami Herald Plaza @ NE 14th Street
Downtown Miami
On Biscayne Bay between the Venetian & Macarthur Causeways

Show Hours:

Friday, December 7 11am – 8pm
Saturday, December 8 11am – 8pm
Sunday, December 9 11am – 6pm

@edelmangallery @artmiamifairs #artmiami2018 #miamiartweek

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Portraiture on view in Miami

 

Alanna Airitam
When Alanna Airitam (b. 1971, Queens, NY) was studying the history of art, she noticed the absence of black people in the history of Western art. This exclusion is familiar to many dark-skinned people who are used to seeing themselves represented in paintings and films as domestic workers, slaves or barbarians. By inviting African Americans to pose in the style of classic Dutch portraiture, Airitam reclaims art history, shining a light on the racial disparity in her series, The Golden Age. Titling her images after places in Harlem — Saint Sugar Hill, Saint Minton and Saint Lenox — the artist pays homage to the Harlem Renaissance, which opened doors for many young African Americans working today. It is a powerful series that celebrates black identity while highlighting the racial divide that exists throughout art history.

Endia Beal
Endia Beal (b. 1985, Winston-Salem, NC) focuses her camera on how African American women are perceived in the corporate world based on their physical appearance. As a young black woman in a mostly white dominated corporate job, Beal knew people talked behind her back about her hair, which did not conform to their definition of beauty. Now, as a professor at Winston Salem State University, Beal tackles the stereotypes that her students and other black women face when they do not fit the corporate mold. Am I What You’re Looking For? poses black women in front of a photographic backdrop of a typical office setting, wearing an outfit they find suitable for work. Through this work, Beal challenges the viewer to look at their own biases or stereotypes as they view the photographs.

Medina Dugger
Medina Dugger (b. 1983, Corpus Christi, TX) pays homage to Nigerian photographer J.D. ‘Okhai Ojeikere, whose 40 year black and white photographic study of African women’s hairstyles set the standard for the celebration of black hair culture. African hair braiding methods date back thousands of years and Nigerian hair culture is a rich and often extensive process, which begins in childhood. The methods and variations have been influenced by social/cultural patterns, historical events and globalization. Hairdos range from being purely decorative to conveying deeper, more symbolic understandings, revealing social status, age and tribal/family traditions. In her Lagos studio, Dugger pays homage to historical and imagined hairstyles, honoring Ojeikere’s work through a contemporary lens in her series Chroma: An Ode to J.D. ‘Okhai Ojeikere.

 

You can see work from all the artists featured at booth #211 here.
For more information on the fair, visit www.artmiami.com.

Catherine Edelman Gallery at Art Miami 2018

Booth #211

The Art Miami Pavilion
One Miami Herald Plaza @ NE 14th Street
Downtown Miami
On Biscayne Bay between the Venetian & Macarthur Causeways

Show Hours:

VIP Preview
Tuesday, December 4
5:30pm – 10pm

Thursday, December 6 11am – 8pm
Friday, December 7 11am – 8pm
Saturday, December 8 11am – 8pm
Sunday, December 9 11am – 6pm

Debuting new work at Art Miami

We would like to extend a big thank-you to everyone who joined us yesterday for the VIP Preview of Art Miami! Opening night is always a great time spent talking about our featured artists. The first day of public hours begins today at 11:00 am. You will discover new work by three of our featured artists, as well as new bodies of work by our represented artists. Read on to learn more about Michael Koerner, Robert and Shana ParkeHarrison, and Gregory Scott!

Michael Koerner

DNA-7797L-7801R,-2018
DNA #7797L – #7801R, 2018 © Michael Koerner

Michael Koerner (Okinawa, Japan, 1963) is the oldest of five brothers. Due to genetic abnormalities and cancer, he is the only remaining living son. His brothers’ fates (and potentially his own one day) can be linked to their mother, who was eleven years old on August 9, 1945 when the atomic bomb was dropped on Nagasaki. She lived in Sasebo, Japan, 45 miles away from the blast. The long-term effects of severe, acute exposure to gamma radiation led to his mother’s death at an early age, and all of his brothers. Koerner’s work explores his family history and genetics through small tintypes, using photographic chemistry to assimilate the bursts and biochemical fallout from the atom bomb.

Koerner’s 6 x 8” tintypes seduce the viewer with glistening deep blacks, metallic silvers, and odd green, yellow and blue hues, to talk about disease. By blowing through a straw, or dripping chemicals from an eyedropper onto tin plates, Koerner manipulates collodion to create sunbursts, explosions, amorphous shapes, and double helixes, all of which reference his family history. In Waterfalls we see vibrant blue chemical drippings, reminiscent of pieces by the 18th c. Japanese artist Katsushika Hokusai; in Phases small balls float across the sky, resembling shooting stars; in Finger Prints, the repetitive imprint of the artists fingertips suggests a medical scan or disease.

Michael Koerner started showing his tintypes less than two years ago, and is part of numerous collections including the Sir Elton John Collection (Atlanta, GA), Nelson-Atkins Museum of Art, (Kansas City, MO) and the Norton Museum of Art (West Palm Beach, FL). We are honored to present his first solo exhibition and believe it is a fitting way to close out our 31 years in River North.

Robert and Shana ParkeHarrison

Screen Shot 2018-12-01 at 3.34.40 PM
Chasing Birds, 2018 © Robert and Shana ParkeHarrison

Act Without Words

We have focused on a key inspirational source of our work over many years: Performance Stills and Stills from Cinema.

Our work has always relied heavily on research. Key within that research has been perusing film and performance stills of works ranging from Brecht, Beckett, Cunningham, Rauschenberg, Postmodern Dance, Experimental theater and Cinema. We find viewing stills to be central to igniting our creative engines. These images allow us to Ponder the totality of the past performance, without knowing the fullness of the event. It is like a spark of magic. This incompleteness allows us to begin the dreaming process. Within this dreaming we find our own story, our own meaning. And from that point new images form.

These images are constructed with that in mind. Rather than creating a complete narrative, we created these images attempting to embody that electric charge we respond to in performance stills. Our intent is for the viewer to experience these images as awakenings to ponder the scenes much like we imagine while viewing performance stills.

Each image in the series is one-of-kind.

Gregory Scott

Basqiuat Dreams, 2018
Basquiat Dreams, 2018 © Gregory Scott

This year at Art Miami we are debuting a new piece from Gregory Scott titled, Basquiat Dreams. Gregory tackles Jean-Michel Basquiat, who first gained recognition as part of a duo graffiti team named SAMO, popular from 1977-1980. He went from being homeless at the age of 17 to major success within a few years. His fame is often credited to his blending of text and image, which tackled racism, classism, colonialism and celebrity, while staying true to his street art roots. The result was more than 600 paintings and 1500 drawings, all done before his untimely death at the age of 27.

Many references to Basquiat’s life and works can be seen in Basquiat Dreams. The video starts with numbers, which reference the date of his birth and death, and the highest price paid for one of his paintings. From there, Scott eludes to SAMO, skulls, figures and markings, among other known Basquiat symbols. The result is a poetic and spirited homage to an artist whose genius was cut short, but lives on as an inspiration.

Basquiat Dreams, 2018 is a framed 30½” x 40″ pigment print, oil on panel, and 4k UHD video (7 min 45 sec), made in an Ed. of 10.

You can see work from all the artists featured at booth #211 here.
For more information on the fair, visit www.artmiami.com.

Catherine Edelman Gallery at Art Miami 2018

Booth #211

The Art Miami Pavilion
One Miami Herald Plaza @ NE 14th Street
Downtown Miami
On Biscayne Bay between the Venetian & Macarthur Causeways

Show Hours:

Wednesday, December 5 11am – 8pm
Thursday, December 6 11am – 8pm
Friday, December 7 11am – 8pm
Saturday, December 8 11am – 8pm
Sunday, December 9 11am – 6pm

CEG at Art Miami

In its 29th edition, Art Miami maintains a preeminent position in America’s modern and contemporary art fair market and is globally recognized as a primary destination for the acquisition of the most important works from the 20th and 21st centuries. The VIP Preview, sponsored by Christie’s International Real Estate and benefiting the Perez Art Museum Miami, takes place tonight from 5:30 – 10:00 pm. We are pleased to showcase the work of Alanna Airitam, Endia Beal, Marina Black, Clarissa Bonet, Medina Dugger, Pete Jacobs, Michael Koerner, Laurent Millet, Robert & Shana ParkeHarrison and Gregory Scott.

You can see work from all the artists featured at booth #211 here.
For more information on the fair, visit www.artmiami.com.

Catherine Edelman Gallery at Art Miami 2018

Booth #211

The Art Miami Pavilion
One Miami Herald Plaza @ NE 14th Street
Downtown Miami
On Biscayne Bay between the Venetian & Macarthur Causeways

Show Hours:

VIP Preview
Tuesday, December 4
5:30pm – 10pm

Wednesday, December 5 11am – 8pm
Thursday, December 6 11am – 8pm
Friday, December 7 11am – 8pm
Saturday, December 8 11am – 8pm
Sunday, December 9 11am – 6pm

Michael Koerner: My DNA opens tomorrow!

We are thrilled to end the 2018-year with work by newly discovered artist Michael Koerner, whose tintypes have stunned the art world. My DNA opens November 2 and runs through December 22, 2018. This will be the final show in our River North location. After 31 years in the same building, we are moving to 1637 W. Chicago Avenue, to join fellow gallerists in West Town.

Screen Shot 2018-11-01 at 3.13.51 PM

There will be an opening reception on Friday, November 2, from 5:00 to 8:00 p.m. The artist will be in attendance.

This Saturday, November 3 at noon, we will host a discussion in the gallery between the artist, Saira Chambers, Director of the Japanese Culture Center, and Professor Yuki Miyamoto, a nuclear ethicist at DePaul University. The discussion will explore how contemporary artists like Koerner tackle the concept of Gaman (我慢), creating a conflict between his cultural heritage and his need to examine the effects that the atomic bomb had on his family. This event is free and open to the public. More information and a link to RSVP here!

Screen Shot 2018-11-01 at 3.41.13 PM

On August 9, 1945, the United States dropped an atomic bomb on the town of Nagasaki, a short distance from the home of Michael Koerner’s mother. The chemical fallout from the bomb instantly killed tens of thousands of people, and left many more reeling from its effects for the rest of their lives. Koerner’s family is just one example of the devastation that chemical warfare had during World War II.

Shoreline #7415, 2018
Shoreline #7415, 2018 © Michael Koerner

Michael Koerner (b. Okinawa, Japan, 1963) is the oldest of five brothers. Due to genetic deformities resulting from cancer, he is the only remaining living sibling. His brothers’ fates (and potentially his own one day) can be linked to their mother, who was eleven years old on that ill-fated August day. She lived in Sasebo, Japan, 45 miles away from the blast. The long-term effects of gamma radiation led to his mother’s death at an early age, and all of his brothers. Koerner’s work explores his family history and genetics through small tintypes, using photographic chemistry to assimilate the bursts and biochemical fallout from the atom bomb. With a family history of various cancers, it is no wonder Koerner became an organic chemist, currently teaching at the University of Illinois at Urbana-Champaign.

Screen Shot 2018-11-01 at 3.14.41 PM

Koerner’s 6 x 8” tintypes seduce the viewer with glistening deep blacks, metallic silvers, and odd green, yellow and blue hues, to talk about disease. By blowing through a straw, or dripping chemicals from an eyedropper onto tin plates, Koerner manipulates collodion to create sunbursts, explosions, amorphous shapes, and double helixes, all of which reference his family history. In Waterfalls we see vibrant blue chemical drippings, reminiscent of pieces by the 18th c. Japanese artist Katsushika Hokusai; in Phases, small balls float across the sky, resembling shooting stars; in Finger Prints, the repetitive imprint of the artists fingertips suggests a medical scan or disease.  As he states:

“I am the oldest of five brothers.  The next born son of my parents lived for only several days. The next son was stillborn and the next was miscarried late in the third trimester. The cause of each of these tragedies was traced to genetic abnormalities. My youngest brother, Richard, eventually succumbed to complications associated with two separate bouts of lymphatic cancer. He lived until he was 32 years of age. There is a tremendous amount of pain and guilt associated with these horrendous endings. It is almost impossible to eliminate or even subdue the feelings that something could have been done differently or avoided.

About half of the 80 thousand deaths from the attack on Nagasaki occurred in the first day, while the other half of the deaths occurred from radiation sickness and burns in the following few months. Realistically, the ultimate death toll is at least ten times higher when you approximate the long-term effect of severe, acute exposure to gamma radiation. My mother and each of her four siblings died of rare genetic disorders and/or cancer at ages much younger than the median life expectancy. I remain hyper-vigilant towards my own cancer diagnosis and exhibit my own feelings of survivor’s guilt. These feelings, and family history and experiences, drive my artistic practice.”

Screen Shot 2018-11-01 at 3.14.06 PM

Michael Koerner started showing his tintypes less than two years ago, and is part of numerous collections including the Sir Elton John Collection (Atlanta, GA), Nelson-Atkins Museum of Art, (Kansas City, MO) and the Norton Museum of Art (West Palm Beach, FL). We are honored to present his first solo exhibition and believe it is a fitting way to close out our 31 years in River North. We opened the gallery with Nan Goldin’s Ballad of Sexual Dependency, a visual diary of the artist’s struggle with love, addiction, heartache and friendship. And we say thank you to River North with the work of a newly discovered photographer, Michael Koerner, who teaches us about our past and its ramifications, through visually stunning pieces of art. We look forward to welcoming the public to our new space at 1637 W. Chicago Ave., in March 2019.

The entire show can be seen on our website here.

Alanna Airitam answers James Lipton’s 10 questions

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Have you watched Inside the Actor’s Studio with James Lipton? In this popular TV show, James Lipton interviews legendary guests. The conversations always end with his famous list of ten questions. Over the years, CEG has asked our artists these same ten questions to gain insight into their personalities and their work. This week, Alanna Airitam answers James Lipton’s Top Ten!

1. What is your favorite word? 

“Yes.” 

2. What is your least favorite word? 

“I can’t.” 

3. What turns you on creatively, spiritually or emotionally? 

Knowing that I have a choice to create my own experience in this life. I’ve created a belief system for myself that allows me to dream as big as I want and believe it is all very possible. We only have this one life to live. What else is there to do except to burn as bright as possible and try to ignite a fire in others along the way? It’s my responsibility to see beyond my perceived limitations and continue to push myself to be the best version of me that I can be. It’s hard work and if theres any consistency to it at all, it’s that it is constantly scary as fuck. It’s humbling as fuck. I never know what I’m doing and only have a vague idea of where I’m going. But the alternative to give up is much, much scarier to me. And the reward is always bigger and brighter than I ever thought possible and gives me the capacity to love more deeply, see more clearly, and experience more fully. I will always be on this path. I will succeed sometimes and fail at others, but I’ll always get back up and do it again. Because that’s what life is about.

4. What turns you off creatively, spiritually or emotionally? 

Blaming, complaining and dwelling on limitations. I meditate daily as a practice so I can be aware of my own limiting beliefs, pains, and fears. I try my best to bust through these things because they hold me back from being the person I want to be, or having the experience I want to have in this life. I figure I only get this one life, I don’t have the luxury to spend most of it blaming others for not being where I want to be, dwelling on that, and then complaining about it –not when I know I haven’t done everything within my power to create what I want. I can’t be lazy and then complain about not being successful. I can’t live in fear and then complain about not being seen or heard. I can’t point the blame outside of myself if I’m not doing what I’m supposed to be doing. Doing this kills everything in me. It makes me not be able to see possibility anymore. I can longer see the magic around me and my potential. I lose sight of who I am. And that leads to despair, depression, and death.

5. What sound or noise do you love? 

Music. I love all kinds of music, but recently have been listening to music without lyrics or lyrics in other languages that I don’t understand so the words become a part of the music. Currently, I’ve been playing a lot of Ali Farka Touré and Toumani Diabaté. The right music is incredible powerful and transformative. I can indulge or shift my moods with music. Along with drawing on cave walls, it’s one of the earliest forms of expression we have. How can something so ancient not be healing and magical?

6. What sound or noise do you hate? 

Leaf blowers. They are loud and obnoxious and pointless. And it seems like the people who use them need to use them first thing in the morning.

7. What is your favorite curse word? 

Fuck. Is there a more perfect word? I believe it is the most intelligent word in the english language because it’s just so fucking versatile. It’s not inherently synonymous with any gender and so can be used fluidly without it being tied back to an underhanded insult to women (like so many curse words are). And I love how it can be added to other words for even greater effect such as, “I can’t believe that fuckweasel was voted into office.”

8. What profession other than your own would you like to attempt? 

I can only choose one? There are so many things I want to experience though! I always thought it would be cool to be a sociologist or an anthropologist because I’ve always been interested in how people relate to each other. I’m extremely fascinated with humans as a species and why we do the things we do. I want to understand what conscious and unconscious parts of ourselves drive us forward or hold us back from reaching our full potential. I think I’d want to specifically focus on the study of fear and love as cultural and individual motivations. 

9. What profession would you not like to do?

I would not want to be a leaf blower person, a politician, or anything where I have to sit at a computer in a cubical all day.

10. If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?

God: “Welcome back! haha for a minute, I wasn’t sure you were going to make it. LOL. We took bets and I’m telling’ ya… it was close. Now I’ve gotta go collect from Tupac. Come on in! Prince is about to perform and we’ve all been waiting.”

How do you see me? is on view through October 27, 2018.

New work by Francesco Pergolesi!

Leo,-Greece,-2018
Leo, Greece, 2018 © Francesco Pergolesi

Two years ago marked the American debut of work by photographer Francesco Pergolesi, who was raised in Spoleto, an Italian village filled with artisan shops and small businesses. His series, Heroes, features work inspired by the people and places from his childhood that are slowly disappearing: the watchmaker fixing old time pieces; the frame shop where hand-milled frames line the walls; and the local cobbler whose walls are covered with leather hides. Working in collaboration with the shopkeepers, Pergolesi presents narratives that honor the past, while preserving the present. Work from Heroes is not only printed and framed traditionally, but also presented as small boxes lit from within by a LED light.

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Detail view of “Antó, 2018” © Francesco Pergolesi

The artist was born in Venice in 1975. He lives and works between Spoleto, Rome and Barcelona.After finishing his law degree, he dedicated himself entirely to photography. He is an artist-photographer whose work explores the territory of memory. Every single shot is a kind of a theater scene. His subjects are revealed in the lights and shadows reminiscent of Flemish paintings. As he states:

“When I was a child I used to walk free exploring my village streets. I remember I loved to spend time in the little cobbler or the grocery where my Grandmother sent me to shop. Time seemed to be extended and let me feel the sense of freedom. I grew up loving neighborhoods where human relationships were the center of life. I realized early on those places were disappearing as pushed by a mysterious force, a new era was coming.”

Era,-Greece,-2018
Era, Greece, 2018 © Francesco Pergolesi

Francesco Pergolesi sees himself as a guardian of a vanishing world where people congregate to talk about families and daily activities. Every Hero unearths a person from his past…and every photograph becomes a new theater set, inspiring him every day, as he continues to wander the streets looking for a connection.

Pepi,-Barcelona,-2018
Pepi, Barcelona, 2018 © Francesco Pergolesi

See more work by the artist, and interviews with Francesco on our website, here.