(Catania 1983 -)
BiographyAlessandra Lanzafame, young and restless Italian artist, started her artistic studies in Sicily and, after obtaining her degree at the Arts Institute, she moved to Rome where she attended the Istituto Europeo di Design (IED). Subsequently, she got a specialization in the subject of photography.
The years spent in Rome started the beginning of a personal photography research on herself. As an artist, she uses the self-timer as a strong (and intimate) instrument to research the human soul. Between suggestive visions and hypnotic appearances, she creates a complex series of pictures which the subjective transmits itself into the universal and vice versa.
In 2008 her degree project “Mad in Italy” was published on “La Repubblica”.
In 2009, her self-timers of the soul win the “Festa delle Streghe” contest, organized by the city of Rome. In the same year, Tau Visual (National association of professional photographers from Milan) recognized her as the Author of the "Premio della Qualità Creativa" (Prize of the Creative Quality).
In 2016, she was one of the finalists of the “ORA” prize (Spanish edition).
In the same year, she became part as an artist of the “Liquid Art System”, organized by the widely recognized gallerist Franco Senesi.
Moreover, she started a new project with painter Elisa Anfuso (for whom she poses as a model from 2013). The project called "(in)conscia veritas" which photography and painting got fused to give life to our first art exhibition at Positano “Liquid Art System” (Province of Salerno, Campania, Italy).
During the course of her career, she exhibited her work for many cultural associations: “Il Circolo Degli Artisti, Gra Magazine, Rinassense,
In the past, it was frequently asked to photography to let us see the real shape of reality. On the other hand, other visual arts were asked to show us the song, the radiance, the dream.
Lanzafame’s work inverts this relationship; giving to photography, to the same act of getting a picture; to the accurately composed scene that she obtains; to the complicated ritual that allows her to photograph such a scene, the power of dream and thought creation.
Catching the reality, capturing and perceiving the movement… for her, those are cages. The old and traditional “law” for the photographer: being an eye, an impeccable and imperious eye which, prescribes what others have to see. She emotionally rejects such law.
All her work shows this will to get free from this heavy ethic of the gaze. Trying to eliminate as much as possible what has been defined as the ocular purpose of the photography. Many more or less complex games in which the lens, without pose, do not show the visible. While, wrongfully, the invisible arises; passes and leaves her traces on the “film”.
Lanzafame reconstructs situations that go beyond the dream, expressing in her images the rhythm and the meaning of past and what will transpire in the future. She proceeds through a sequence of images both tied and discontinuous.
These pictures are the example of how photography can move so greatly to give the impression of dissolved light which is made of. In order to become, even if for just a moment, “liquid”, “gas” and take us to the unequivocal evidence of reality.
But it is just a superficial layer; a reality that in order to become truth, it needs to go through to a more complexed and cognitive process. The process of finding connections, senses, needs that are not immediately seen as obvious.
This is what I think our author wants to tell us when she shows us, for example, naked bodies or feminine figures playing with a coloured balloon in frightening corridors. Those are the “no places”, those “places not to live” and to rapidly take you to “places to live”. Many of us, born in anonymous apartments, we lived and played during most of our childhood. These “no places” where children were not considered as “people”. Unconsciously, as children, we had this almost abstract experience to live in an empty world; a closeted world, no space, no freedom; Freedom belonged to the light gas of a balloon. We wanted to keep it safe because it was a piece of freedom we could not lose. Even though, only by losing it, we could see that freedom actually existed.
If Lanzafame wanted to tell us these things or even more things; or If she made us thought about these or even more, she unequivocally communicated her poetry and a certain unexpected power in the art of photography.