Microstories with Fabrizio Paterlini
‘Internationally acclaimed Italian pianist and composer Fabrizio Paterlini creates melancholic musical compositions, predominantly working in the vernacular of Neo-classical or minimalism. His unique sounds are both visceral, emotive and indeed offer a complexity which is sometimes regarded as ethereal.’ – Microstories
Living Photography. What does the word living mean to you?
Living Photography is to be in a constant state of change. To be in motion. Nothing that is living is ever truly still. We breathe, our hearts beat, we move from place to place. Nothing alive is ever truly still. These images are taken in transition, moving between places and states of mind.
Living Photography opens on Wednesday 4th December at the Brunswick Leeds.
Fabrizio Paterlini – Piano Microstories Publication
I am so pleased to announce that I have been selected for Fabrizio Paterlini’s latest publication ‘Piano Microstories’.
‘Internationally acclaimed Italian pianist and composer Fabrizio Paterlini creates melancholic musical compositions, predominantly working in the vernacular of Neo-classical or minimalism. His unique sounds are both visceral, emotive and indeed offer a complexity which is sometimes regarded as ethereal.
Paterlini’s most recent project emphasizes the notion of the current moment stating, ‘How many emotions can you feel in one minute?’.
The publication aims to be a multidisciplinary piece of art that combines photography and poetry in response to Paterlini’s one minute piano scores.’ – Gemma Land and Ravinder Surah
I feel so privileged to be mentioned in Volume 4 of ‘North’ as part of Jo Garrett’s wonderful interview on the darkroom.
I love the way that Jo talks about the magic of the darkroom, the physical interactions between chemistry and light, it is alchemy and I adore it. I think it is so easy to disassociate the physicality of making work from the final outcome which often ends up, framed and pristine, on a white wall.
When I’m working in the darkroom with Jo, I can relax. We often discuss the crossovers and co-dependencies of printmaking and photography. How each process informs, shapes and directs the evolution of the other, while still remaining very separate artforms.
Darkroom photography has always held a fascination for me. There is something magical about taking a photograph in one place and then summoning its appearance in another. I think it’s the closest to alchemy that I’m likely to get – but what is more exciting than following the rules of the darkroom – is breaking the rules. I met Joanna Garrett, a specialist in ‘experimental darkroom’ in 2017 and she has had me hooked ever since.
The experimental darkroom differs from the traditional darkroom in a number of ways – mainly that it there is no ‘right’ or ‘wrong’ way of utilizing it, the aim is to find a methodology and aesthetic that work ‘for you’. Through trial, error and lots of research, we are working collaboratively as well as individually in order to develop new bodies of work.
This way of working fits with my printmaking and installation practice and the thrill of finding something that works, as well as subverting a traditional method really excites me. To read more about my experiments with softground etching click here.
For more information on my worked with sensors, animation and sound click here.