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Marcelo SouléSan Babila2024
2024
$298.02
£221.10
€250
CA$408
A$457.10
CHF 237.92
MX$5,566.56
NOK 3,030.76
SEK 2,854.12
DKK 1,903.54
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About the Item
Photo taken inside the San Babila church - Milan (Italy).
Marcelo Soulé (Buenos Aires, 1958) trained at the Artistic Lyceum and the Brera Academy in Milan. He lives and works between Milan and Barcelona. He began his career in photography at an early age, collaborating with publishers and magazines in the Spanish-speaking area (Bruguera, Grupo Z, Grupo Prisa), working as a photographer and videomaker. In addition to traditional darkroom photography, he also gained experience as an artistic printer at Editions Tristan Barbarà in Barcelona. Always attentive to the evolution of information technologies in the world of imagery, he expanded his interests to include the technical possibilities offered by the digital and web world, both in photography and in video editing, production, and transmission. In the works presented here, united by their apparent architectural subject, the photographer demonstrates his ability to draw from his previous experiences in both digital and analog fields. His trained eye for still life photography captures the moment when light shapes accidental forms on the inert and uninhabited subject, bringing the novelty of the unpredictable to the most common elements of our urban daily life, the mediocre and conventional city architectures, the celebrated monuments increasingly overlooked. His expertise in selecting materials, supports, and profiles during the printing phase leads to the highest level of meticulous material expression. Architecture thus becomes, as it should be in the highest expressions of art, merely a pretext to enchant the gaze that transforms its subject, rendering it ultimately indifferent, transfiguring it into the world of aesthetic experience of the photographic work, where the photographer constructs his object on paper, where - recalling Merleau Ponty's acute observations - "form and content, what is said and how it is said, cannot exist separately."
The print will be shipped rolled in a tube
Photo 50 x 75 cm
- Creator:Marcelo Soulé (1958, Argentinian)
- Creation Year:2024
- Dimensions:Height: 39.38 in (100 cm)Width: 27.56 in (70 cm)Depth: 0.08 in (2 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Milano, IT
- Reference Number:Seller: MS_SanBabila_202405101stDibs: LU1996214428532
Marcelo Soulé (Buenos Aires, 1958) trained at the Liceo Artistico and the Accademia di Brera in Milan. He lives and works between Milan and Barcelona. Early on, he ventured into photography, collaborating with publishers and magazines in the Spanish-speaking area (Bruguera, Grupo Z, Grupo Prisa), working as a photographer and videomaker. In addition to traditional darkroom photography, he also gained experience as an artistic printer at Editions Tristan Barbarà in Barcelona. Always attentive to the evolution of information technologies in the world of imagery, he expanded his interests to the technical possibilities offered by the digital and web world, both in photography and in video editing, production, and transmission. In the works presented here, united by their apparent architectural subject, the photographer demonstrates his ability to draw from previous experiences in both digital and analog fields. His trained eye for catalog still lifes captures the moment when light outlines accidental forms on the inert and uninhabited subject, bringing the novelty of the unpredictable to the most common elements of our urban daily life, the mediocre and conventional city architectures, the celebrated monuments increasingly overlooked. Accompanying the eye is the expertise in selecting materials, supports, and profiles in the printing phase, leading to the highest level of meticulous material expression. Architecture thus becomes, as it should be in the highest expressions of art, merely a pretext to enchant the gaze that transforms its subject, rendering it ultimately indifferent, transfiguring it into the world of aesthetic experience of the photographic work, where the photographer constructs his object on paper, where - recalling Merleau Ponty's acute observations - "form and content, what is said and how it is said cannot exist separately."
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