EMANUELA BARTOLOTTI
by Sara Namias
44 ZOOM
Born in Lecce, Italy in 1973, Emanuela Bartolotti’s training is decidedly artistic and scenographic. Having graduated from the arts high school, she then attended the “WWW Operar ad Arte” and “Laboratorio Sperimentale Audiovisivi 2002” courses and finally received her degree in Stage Design. Her original series, “Imprinting” , published here, is striking, yet her work splits off into two tendencies: some series imbued with fantasy are tied to the world of fairy tales, play and imagination, such as “The Little Mermaid” and “La Bella e la Bestia” (Beauty and the Beast). On the other hand, while maintaining the form of a sequential narration, her “Mirror” and “Scarpette Nere” (Black Shoes) series are inspired, respectively, by the world of filmmaking/fashion advertising and daily reality.
Emanuela Bartolotti: "Imprinting" is a work dating from 2003-04, was born to play from my passion for stories, cartoons, toys. I started collecting small objects found in flea markets, wine cellars, in second hand stores, including the growing concern of friends who were wondering what ever I had to do. Selecting, showed a taste for items that are now common stereotypes of an imaginary fairy and folk: the red shoes, the mirror, the wolf, the mermaid symbolic forms that applicants become universal representations. I have tried in this way to create an alternate world similar to that received during childhood. The photographs come to life from the impression of these little colored objects, toys designed by adults for children and for this eye-catching and slick at the same time. The project is evolving in developing stories "visual" with a sequence of images and creation of real games that intend to engage the public. The photograph becomes an object and return game.
Emanuela Bartolotti : "Imprinting" is a Work that dates from 2003-04, a series playfully inspired by my love of fairy tales, cartoons and toys. I Began to collect small objects found in flea markets, basements and second-hand stores to the growing concern of friends who wondered what in the world I would do with them. Choosing them, what emerged was a preference for elements that become fairy tale and popular stereotypes: red shoes, the mirror, she-wolf and mermaid, all recurring symbolic forms that become universal images. In this way I have tried to create an alternative world similar to that of our childhood. The photographs spring from the mark left by these small colored objects: toys designed by adults for young children that are both shiny and attractive. The project unfolds in the elaboration of “visual” tales with sequences of images and in the creation of actual games aimed at involving viewers. The photograph Becomes an object and returns to Being a plaything.
Zoom: you communicate a message to someone in particular? Persons too realistic, to those who have buried childhood memories ...
EB: No, I think that everyone is close spontaneously to what feels similar, so it is more likely to find my fun work who still has not lost these characteristics. When one dedicates much of what is created, then there are those who report should be able to feel the passion it originated. If I can not communicate emotions are not successful in my attempt. I love this kind of imagery because it allows me to invent anything. In a story you can fly, you can grow and return to small, you can eat a cookie and then make a wish come true. You can sense how magical things to an adult seem insignificant but too realistic for a child is full of charm, like the flight of Mary Poppins.
Zoom: Are You Trying to communicate a message to someone in Particular? To people who are too realistic or Those Who Have Their buried childhood memories?
E. B.: No, I think that each of us spontaneously gravitates towards what we feel is most akin to us. So, it is most probable that people who have not yet lost these attributes will be most amused by my work. When you dedicate yourself intensely to what you create, people who later interact with it should be able to perceive the passion that has given rise to it. If I am not able to communicate emotion, I haven’t succeeded. I love this type of imagery because it allows me to invent something. In a fairy tale you can fly, you can grow up and then become little again, you can eat a cookie and make a wish that will come true. You can perceive as magic things that to a too-reality-bound adult seem insignificant But Which are mesmerizing for a child, Such as the flight of Mary Poppins.
Zoom: How did the animal-matching dolls?
EB: Because even the animals are key elements of fairy tales. They are anthropomorphized animals - see the wolf in "Little Red Riding Hood" - or the appearance animalistic men - either as "Beauty and the Beast". I also liked the contrast between these different types of toys. After all, if you need to play, from the beautiful red shoes can become hippo and friends as they explore the garden to meet the fantazebra advising which way to go before beguiled by the mirror wearing the right dress for that then the frog dirty suddenly jumping out of the mire of the saucer.
Zoom: Why the pairing of animals and dolls?
EB: Because animals are key Also in fairy stories. Into them we find anthropomorphized animals, like the wolf in Little Red Riding Hood or people with animal-like features, Such as in Beauty and the Beast. Plus, I liked the contrast Between these different types of playthings. When you start to play, the beautiful girl can become friends with the hippopotamus and while exploring the garden they can meet the imaginary zebra who tells them what road to take before becoming bewitched in front of the mirror to put on the right outfit that the frog will then get dirty by jumping out unexpectedly from the mire under the plant.
Zoom: Perché l’idea, molto originale, di tavolette fotografiche raccolte in un cofanetto? Dove si può acquistare?
E. B.: Gli oggetti fotografati sono molto piccoli e quindi si the idea of \u200b\u200bproviding a container that encloses them. This solution takes the concept of fairy tale collection in this box set in the nineteenth century. It makes me think of the games. You've never played with the cards to the merchant at the fair or the game of doubles? And then I'm in love with the object box. Collecting box, which contains. Gives me an idea of \u200b\u200bsomething intimate and precious, because personnel. Something that comes from within and is guarded and preserved, but that can be opened for be shown to others. Hence an interaction with those who are invited to watch and may even affect the picture. I've seen people smile naturally while playing with the blocks e scopriva il contenuto della scatola. Per me questo è un piacere.
Zoom: Where did you get the very creative idea of photographic tablets collected in a box? Where is it available for sale?
E. B.: The objects in the photographs are very small and therefore lend themselves to the idea of some kind of container to hold them. This solution also goes back to the idea of stories in boxed sets dating from the 1800s. It makes me think of card and board games. Haven’t you ever played Old Maid or Concentration? Plus I love boxes. Boxes that bring things together, that contain them. It gives me the idea of something intimate and precious because it is personal. Something that is born from within and is kept and preserved, but which can also be opened to show to others. This gives birth to an interaction with the person invited to take a look and who can also touch the photos. I saw people smiling spontaneously as they played with the tablets and revealed the box’s content. I find this to be a real pleasure.
Zoom: Quando stampi i tuoi lavori, ad esempio per una mostra, di che formato sono?
EB: prefer small sizes. The 35 tablets of the series "Imprinting" contained in the box are 7x10 cm, 15x22 cm in the series that became Wall. For "The Little Mermaid" is instead the maximum size 20x30 cm. In any case I never exceeded the size of 70x100, which is used only for the diptych "Gerda" series "Short stories" . Although it does provide a smaller form factor and the realization of a box (I expect oval or round), that contains the images. In my vision remains central to the concept of the photograph becomes an object.
Zoom: When you print your works, for an exhibition, for example, what format are they?
E. B.: I prefer small formats. The 35 tablets in the “Imprinting” series contained in the box are 7x10 cm, which become 15x22 cm for the wall series. For “The Little Mermaid”, the size is 20x30 cm. In any case, I have never gone over a 70x100 format which I only used for the diptych, “Gerda” in my “Racconti Brevi” series. But even this calls for a smaller format and the creation of a box (I think it will be oval or round) to hold the photographs. In my concept, what remains central is the photographturned-object,
Zoom: Six degree in Art Direction, in addition to the photo you're working in other artistic fields?
EB: I worked as a designer and in setting up photo shoots. For my projects, in addition to photography using other techniques that I'd like to keep experimenting. As the cardboard, which is typical in my area of origin, with whom I created objects of art and design. These works share a playfulness and a strong component of recycling and restyling. Continues relentlessly to produce, but now it would be enough to recycle and renew what already exists. If only for a form of respect for the planet. But I'm not the only one to think of it, fortunately.
Zoom: You have a degree in set design. In Addition to photography, are there Any Other're active in artistic fields?
EB: I have Worked as a set designer in creating and still photography sets. For my projects, in addition to photography, I also utilize other techniques with which I would like to continue to experiment. For example papier-mâché, typical of the area where I was born, which I used to create art-design objects. They are works that share a playful aspect and a major component of recycling and restyling. We continue to produce incessantly, but we should actually begin to recycle and renew what already exists, if for no other reason than respect for our planet. Luckily, I’m not the only person who thinks this way.
Zoom: C’è qualcosa in particolare che vorresti dire ai nostri lettori?
EB: Yes, I would advise fans to persevere and believe in what they do, if only for personal pleasure. Who has children to let them spots in the freedom to express themselves. This helps to develop thinking skills that now seems lost, and I speak not only of imagination but of judgment. Quite simply, the ability to distinguish and choose. To find out in the end things that involve us and move us are common to all, or nearly so.
Zoom: Is there anything else in Particular That'd like to tell our readers?
E. B.: Yes. I would like to say to enthusiasts to persevere and continue to believe in what they do, even if just for personal gratification. To those with children, to let them have the space and freedom to express themselves. This helps them to develop the ability to think that we almost seem to have lost, and I’m not just talking about imagination, but the ability to make judgments. Put more simply, the ability to differentiate and choose. In order to discover in the end the things that involve us and move us are common to us all, or virtually.
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