Polvere 2017

Polvere takes its name from its charcoal-like, very dark, and a bit blurry or slobbery surface. It is a mix of people and places that creates a kind of série noire. The darkness is calling for slowness.
No explanation of the situations, no narrative, always hidden faces, thus no-one else’s look there to support, but bodies, often naked. The pictures are like burned monochromes, a troubled souvenir. Subjects are imploding, like rotten fruits in a desolated world, close into itself. There’s the idea that a rapidly app roaching catastrophe is nearby and is about to happen.

Polvere series 2017

Polvere takes its name from its charcoal-like, very dark, and a bit blurry or slobbery surface. It is a mix of people and places that creates a kind of série noire. The darkness is calling for slowness.
No explanation of the situations, no narrative, always hidden faces, thus no-one else’s look there to support, but bodies, often naked. The pictures are like burned monochromes, a troubled souvenir. Subjects are imploding, like rotten fruits in a desolated world, close into itself. There’s the idea that a rapidly app roaching catastrophe is nearby and is about to happen.

Polvere series 2017

Polvere takes its name from its charcoal-like, very dark, and a bit blurry or slobbery surface. It is a mix of people and places that creates a kind of série noire. The darkness is calling for slowness.
No explanation of the situations, no narrative, always hidden faces, thus no-one else’s look there to support, but bodies, often naked. The pictures are like burned monochromes, a troubled souvenir. Subjects are imploding, like rotten fruits in a desolated world, close into itself. There’s the idea that a rapidly app roaching catastrophe is nearby and is about to happen.

Note: The text above was written by the Artist. No modification was made by COCA.

Aurore Dal Mas

Belgium

http://www.auroredalmas.com

I obtained a Master’s degree in Photography at La Cambre (Brussels, 2005). I showed my work, nourished by cinema, painting and my research around the voice, at the Musée de la Photographie de Charleroi (2012), the Circulation(s) festival in Paris and 44 Gallery in Bruges (2014). ), the Water Tower Art Fest in So a (BG, 2013) and in various Belgian cultural centers (Huy, Knokke, Hasselt, Bastogne, Bruges, Ianchelevici Museum, Recyclart, etc.). In 2018, I published a first book, Dead End Dust, with Yellow Now editions (BE) and in November 2019, I published Don’t love me, I’m your toy with the support of DIRTYillness (UK).

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