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(pubblicato nel contesto di “Art & Culture” N.1 su 66.200.000

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ed in “Esteticamente — Aesthetically”

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The photographs of Sammy Goldfien are perceived through the shadow that tries an own “crypt”, paradoxically with a light. Overall, it seems that the gray predominates. There’s a heaviness, for the coats and the sweaters, which almost make the athletic beauty of Kim Vandenberg “look older”. The gray is a winter tone; but it’s a situation that favours the research for a self-protection. The model poses squaring the bust by the arms, or she shows a “hump” of the neck and the eye (whose gaze seems “sleeping” into a profoundness, unknown to us). In this case an enlightenment of the vitality would protect itself. Squaring the bust, or with the eye “at hump”, the portrait of the model should predominate over the cropping at the sides (which in fact would try to “contain” the arms, the legs, the head, the hips). So the gray tone would help the expressive charge “to fall asleep”. Principally the coat will function as an useful “pillow”, certainly for the head but also for the arms.

Sleeping, our vitality has a “crypt” paradoxically of light, through a dream. We “will be very smitten by this”, arriving to predominate (by the “gray” heaviness of a virtuality) over the expressivity of the look, the limbs, the speech etc… Often, it seems that the model sketches her awakening. However the tone essentially gray of the shoots remains. How much would the shadows still protect us, by the reality?

According to philosopher Jacques Derrida, the crypt concerns dialectically a place both included in another place, and (in the same time) separated by this last one. Something that we would see through a “sparkly” glance. The crypt is located in a revelation of the darkness. The glance always happens briefly. In the darkness, we can advance only groping around. A crypt is “monitored” by the palace (where the first element is contained), and like the “sparkling” of a hidden treasure.

The model Kim Vandenberg would cast a “heaped-up” glance. That is the light that protects the “darkness” of own expressivity. The model lets a look, a knee, an arm etc… slip out; but there a “monitoring” of the gray remains. Some poses are perceived even inside the clothes which “grope around” (if the collar “sucks up” the nape, the trousers have the “train” of a chest, the coast allows the face to “drip” etc…). Generally, it seems that the arms square the bust like the hooks of an attaché case. These would have a metal tone, and certainly would allow a hidden contents to shine, who knows how much in a protective key element!

There is a photography where the squaring arms “make numbing” the bust, while only the glasses could sketch an “awakening”. The detail of their reflection helps us to perceive the half-sleep which “gropes around”, inside a “crypt” for the gray. In the photography with a knee that climbs up the chest again, it seems that “a heaped-up hook” predominates, over the dim light of a shirt. Every step has to be normally done in self-confidence. In the gray “crypt” of the dream (when the thoughts allow us a revelation only virtual, against the black of a darkness), the self-numbness is able to protect. The knee, climbing up the chest again, is perceived through the entire bust which “gropes around”. In another shoot, the face tries to protect the “dripping” of own feelings, and under the sponginess of a coat.



Paolo Meneghetti´s books / i libri