For English version please scroll down.


O SERIJI

Ples je izvirna oblika človeškega bitja ... in hkrati izvorna oblika osebe same ... je resnica in hkrati utemeljitev človeškega bitja na svetu, najbolj neizpodbitna in večna od vseh teorij. Ničesar ne uči, o ničemer ne razpravlja - veličastno hodi in s to veličastno hojo izpostavlja temelj vsega: ne volje ali moči, ne tesnobe in žalosti, ne vsega, kar hoče vsiliti obstoj, ampak samo to, kar je gospodar samega sebe, je božansko. Ples je resnica tega, kar je, na najbolj neposreden način pa resnica "živega". (W. F. Otto).
V svojih fotografskih raziskavah sem vedno raziskoval in interpretiral človeško telo, ki je zame skoraj obsedenost, prevelika radovednost, da bi prepoznal in v skladu s svojim osebnim pogledom na novo predstavil to temo, ki je še vedno tako skrivnostna, čeprav je danes telo predstavljeno in predlagano z veliko lahkoto in enostavnostjo.
Na tej poti sem se neizogibno približal svetu plesa, vrhunskega praznovanja človeškega telesa.
Šele takrat sem našel, kar sem iskal: povezavo med telesom in dušo, skrajno sublimacijo človeške figure.
Ples je človek od nekdaj potreboval za posredovanje svojih želja, predstavljanje svoje kulturne identitete, izražanje in navsezadnje približevanje božanskemu. Hkrati je umetnost to prvinsko potrebo interpretirala vse do današnjih dni, od starodavnih grafitov, skalnih poslikav, votivnih kipov do figurativne umetnosti (kako naj pozabimo na impresioniste ...) in kiparstva ter nazadnje do fotografije in videa.
Ples je že sam po sebi oblika umetnosti, natančneje "umetnost gibanja telesa", edina umetnost, ki se odvija v času in prostoru. Kot pri vsakem umetniškem izrazu je tudi ples povzetek dela, žrtvovanja in bolečine, ki se razkrivajo v teh vzvišenih gibih. Telo je tisto, ki se giblje, in to je najvišje umetniško dejanje.
Ples je torej oblika umetnosti, ki jo je treba le opazovati in spremljati, da bi lahko uživali in cenili njen pomen že zaradi notranje posebnosti gibov.
Zato se zdi, da je fotografija antiteza plesa, manj primerna umetnost za zajem njegovega pomena, saj na eni sliki "blokira" le eno gesto.
To velja, če fotografijo obravnavamo kot čisto dokumentarno sredstvo.
Toda fotografija ni samo to. Postala je in je po vsem vesolju priznana kot umetniška predstava, v kateri je fotografski instrument le način izražanja, ki pripada umetniku, in ne tehnični lik, ki je veljal v preteklosti.
To željo sem lahko uresničil, ko sem uporabljal svoje zadnje polaroidne filme, ki jih ne izdelujejo več.
Te čudovite figure so me popolnoma očarale in pritegnile v svoj očarljivi svet, tako da sem začutil nujno potrebo, da tudi sam hkrati prenesem ta čustva, razkrijem avro in dušo teh bitij.
Plesala so zame, mi podarjala svojo lepoto in čar, pa tudi trdo delo in znoj, ki sta osnovni poti za doseganje popolnosti in končno sublimacije.
Odkril sem nekaj eteričnih jeklenih teles, plodov vztrajne volje, predanosti, predvsem pa ljubezni in strasti do te oblike umetnosti, ki se napačno imenuje "poklic". Poskušal sem ujeti njihov čarobni tok, skrivno misel, neopazno gesto, ki podpira celotno harmonijo. Ustavil sem njihove korake, da bi jih pomnožil do neskončnosti. Vezel sem lahkotnost njihovih obokov in božal njihova eterična telesa. Zgradil sem jim oder oniričnih razsežnosti, na katerem so lahko plesali. Razlagal sem njihove sanje in pripovedoval njihove zgodbe. Poskušal sem prenesti šumenje njihovih fantazijskih oblek in glasbo, ki jih je spremljala. Vedno bolj sem opažal sladkost, žalost, trpljenje in nežnost v njihovih pogledih. Eleganco in ljubkost trenutka sem postavil v kontrast z gorečnostjo intenzivne strasti. Narisal sem popolno simetrijo geste in gracioznost lahkotne silhuete.
Predvsem se jim zahvaljujem, da so mi s svojim telesom podarili svojo dušo.

ABOUT THE SERIES

Dance is an original native form of the human being... and at the same time it is the native form of the person itself... it is the truth and is at the same time the justification at the human being in the world, the most irrefutable and eternal of all the theories. It teaches nothing, it discusses nothing - stately walks, and with this stately walk brings out the foundation of everything: not will or strenght, not anguish and sorrow, not everything that wants to impose the existence, but only what is lord of itself is divine. Dance is the truth of what it is, but, in the most immediate way, the truth of the “living”. (W.F.Otto).
In my photographic reserach, I have always investigated and interpreted the human body, which is almost an obsession for me, an overlasting curiosity to acknowledge and to re-propose according to my personal view, this subject which is still so mysterious, even though nowadays the body is presented and proposed with great facility and ease.
On the way, I have thus inevitably drawn near to the world of dance, a supreme celebration of the human body.
Only then I found what I was looking for: the link between the body and the soul, the extreme sublimation of the human figure.
Dance has always been a human necessity for transmitting its desires, representing its cultural identity, expressing itself and, in the end, approaching the divine. At the same time, art has interpreted this primordial need up to nowadays strating from the ancient graffiti, rock paintings, votive statues, going through to the figurative arts (how can we forget the Impressionists...) and sculpture, and finally we reach photography and videos.
Dance itself is a form of art and precisely “art of body movement”, the only art that takes place in time and space. Like in every artistic expression, it is the summary of work, sacrifice and pain which are revealed in those sublime movements. It is the body which moves and this is the supreme artistic act.
So, dance is a form of art that one must only watch and assist its performance in order to enjoy and appreciate its significance just for its intrinsic peculiarity of the movements.
Therefore photography seems to be the anthitesis of dance, the less suitable art to pick up its significamce, since it “blocks” in one picture only one gesture.
This is true if we consider photography to be pure means of documentary.
But photography is not only this. It has become and it is recognized all over the universe as an artistic performance, in which the photographic instrument is only a way of expression belonging to the artist, not the technical character considered in the past.
It was while I was using my last Polaroid films, which are no longer produced, what I was able to carry out this wish.
These lovely figures have completely fascinated and involved me in their enchanted world, that I felt this impelling need to transmit myself at the same time these emotions, reveal the aura and the soul of these creatures.
They have danced for me, giving me their beauty and charm, but also the hard work and sweat that are the basic ways of reaching perfection and at last sublimation.
I discovered some ethereal steel bodies, fruits of tenacious will, dedication and above all love and passion for this form of art erroneously called “profession”. I tried to capture their magic flow, a secret thought, the imperceptible gesture that sustains the whole armony. I stopped their steps, to multiply them to infinity. I embroidered the lightness of their vaultings and caressed their ethereal bodies. I built a stage for them, of oneiric dimensions, where they could dance. I interpreted their dreams and told their stories. I tried to transmit the rustle of their fantstic dresses and the music that accompanied them. I noticed more and more the sweetness, the sadness, the suffering and the gentleness in their glances. I contrasted the elegance and the loveliness of a moment with the vehemence of an intensive passion. I drawed the perfect simmetry of a gesture and the grace of a light silhouette.
Above all I thank them for having given me, through their body, their soul.