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ALASTAIR MAGNALDO

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MAGGIORI INFORMAZIONI SULLA CONSEGNA

L'artista

Born in Great Britain, Alastair Magnaldo discovered photography at the tender age of ten. It was at that precise moment that he became fascinated with the luminous finish of black-and-white prints. Although he didn\'t know it at the time, he was also laying out his artistic destiny. As he matured, a new passion emerged: that of science. It was only after obtaining a PhD in physics and chemistry in France that Alastair Magnaldo returned to photography, in 2000. He then familiarised himself with photographic techniques while capitalising on the experimental and creative approach science had brought him. Since then, combining images and emotions, he has designed worlds whose poetics allow the cares of the Earth to be abated. With around one hundred works under his belt, he stands out as a singular artistic figure, juggling worlds with surprising freedom. His work has been exhibited in several international galleries and has received numerous awards, including the Prix de la Créativité 2009 from the Fédération Française de Photographie.  ... Vedi di più Vedere di meno

Tutte le sue fotografie

I started to capture landscapes 20 years ago, before giving up, dissatisfied, but by injecting fiction into it, I am targeting fast human time, represented by the train and imposed shamelessly on animals...

ALASTAIR MAGNALDO

Sull'opera

The reproduction of the landscape is the source of his work. In effect, the photographic representation of landscapes although excellently executed by many authors has limits: a landscape goes well beyond its strict representation, it is an invitation. For Alastair Magnaldo it is an invitation to dreams and poetry, where each detail has its own sense, each element its use, each scene its story to tell.Who has never dreamt of sleeping in cotton-wool clouds, to twirl amongst the stars and to rub shoulders with the moon? These are childish, simple emotions, inevitably constrained in some place by a traditional photographic reduction that he wanted to bring out in all simplicity.When his children invaded the field of vision, it was them of course that he began to direct. It is their false naivety and their freshness, which during a beautiful moment makes it believable.It is to this almost magical moment removed from real and daily life, which comes from the bottom of everyone?s dreams, that this work of creation is completely dedicated.Everything, or nearly everything converges there: the almost systematic insertion of an observer to which the spectator cannot prevent themselves from embodying, with a play on distances and dimensions to delete the fullness of photographic paper and the absence of aesthetic effect not exclusively serving the creative cause. His reasoning is a product of a creative gesture subjected to the originality of each story. Each photograph must be a totally separate creation with its own idea.

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