Luca Battaglia

Italian Contemporary Photography by Luca Battaglia - Untitled 10, Tbilisi

2022

Pro pigmentary draw Premium Ultra Smooth Hahnemühle 305 g, edition of 7 Luca Battaglia is an Italian architect and photographer born in 1970 who lives and works in Paris, France. Luca met the Italian photographer Gabriele Basilico in Milan when he was preparing to become an architect. At the end of a conference, a personal exchange with the man who never ceased to describe the modern city sharpened Battaglia's eye. Until the photographer's death in 2013, the two men would regularly cross paths on projects where they would obviously document architecture in a different way. Luca Battaglia is now an established architect. With a wealth of experience at Yves Lion and Renzo Piano, he has been one of the founding partners of the Fresh Architectures agency since 2007. However, he has never "hung up" the camera that has accompanied him since his adolescence, driven by a need to express his architectural practice in a different way. The architect straightens and folds his project drawings to make them tangible. So, whenever he can, Battaglia surveys the city in search of these folds that give life to these façades, whose juxtaposition composes a framework as much as an urban texture. From New York to Paris...

Pro pigmentary draw Premium Ultra Smooth Hahnemühle 305 g, edition of 7 Luca Battaglia is an Italian architect and photographer born in 1970 who lives and works in Paris, France. Lu...

Pro pigmentary draw Premium Ultra Smooth Hahnemühle 305 g, edition of 7 Luca Battaglia is an Italian architect and photographer born in 1970 who lives and works in Paris, France. Lu...

Pro pigmentary draw Premium Ultra Smooth Hahnemühle 305 g, edition of 7 60 x 80 x 0,1 cm or 80 x 60 x 0,1 cm Luca Battaglia is an Italian architect and photographer born in 1970 ...

A camera is a window through which a photographer interacts with the world, and it's up to the operator to decide whether his camera will be a barrier or a mirror between he and his subjects. In the 1970s, Michael Abramson chose the latter path when he brought his camera to Pepper's Hideout on Chicago's South Side. Following in the footsteps of his acknowledged influence Gyula Halász, a Hungarian photographer better known as Brassaï who became the pre-eminent chronicler of the Paris nightlife he loved so much, Abramson initiated himself into the nightlife of Chicago's predominantly black neighbourhoods. He was very much a part of the scene he documented on film, drinking, laughing, and dancing with his subjects into small hours and becoming as much a part of the atmosphere as the locals who frequented the same nightspots he did. - Joe Tangari (Numero Group, 2009) This series won Abramson a grant from the National Endowment for the Arts in 1978 and launched his career as a photojournalist. Eventually the project resulted in a hardbound book, Light: On the South Side, including the Grammy and Mojo nominated album, featuring Chicago blues...

"It was very strange and magical for my dogs to suddenly and instinctively to become an integral part of the landscape. I suppose that’s what hunting dogs do." - David George David George's interest in British landscape began under the tutelage of John Blakemore at Derby University and continues to be a major part of his practice, now mainly concerned with ideas of classical and romantic visual semantics in the contemporary British landscape. His work looks at the decline of traditional industries, incorporating his interest in 19th century European landscape painting...

A stand of spinous silver birch gather, shining white against the inky night... Over a three-year period, Goodall has visited areas of British forest and moorland to make images that he refers to as being 'more akin to fairytale than documentary'. There is indeed an unreal quality to the images, and this is perhaps a result of using artificial lighting; it reminds one of those spooky, unnaturally lit forests we see in the movies. In the absence of any natural illumination (save for a few that include the moon), scenes are lit as if they are in a studio setting. This results in imagery that feels eerily unfamiliar; transporting the viewer from the recognisable landscape into a kind of liminal netherworld - it's the landscape, but not as we are used to seeing it. Goodall responds to this observation by speaking about the possibility of the darkness being seen as a metaphor for the unconscious mind; the 'light' of consciousness illuminates the known forms of tree and rock, but beyond these certainties lies the unknown. When your eyes have little information, your imagination takes over and fills in the gaps." - Jasper Goodall...

Mark of Esteem, ‘Silhouette’, 2001 by John Reardon This Print is part of the Hermès Collection of Contemporary Photographs since November 2023 A few mor...