FRANCESCO FARACI

THE IMAGE OF SICILY AND ITS EXISTENTIAL PARADOIS

Workshop by Francesco Faraci from 2 to 3 March 2019 in which the prestigious photographer unveils his vision of photography to the participants.
Hours: from 9.00 to 18.00
Location: Theory at the Scaglia Academy training room. Practice on the streets of Trieste
Cost € 230
Presale cost up to 15 February 200 €
10% discount for dotART members
AT THE CENTER OF HIS WORK THERE IS HIS EARTH, SICILY, WHICH LOVES DESIRES CULTURAL CROSSES AND EXISTENTIAL PARADOIS (BIRTH AND DEATH, JOY AND VIOLENCE, THE SOLITUDE THAT HAS BETWEEN THE FOLDERS OF MODERNITY) WITH A SPECIAL EYE MINORITIES AND THE MINORS THAT BORN, GROW AND OFTEN ARE FORMULATED IN THE DISEASED AND ABANDONED ZONES OF THE CITY, IN THE MARGINAL PERIPHERIES.

Photography by itself has no meaning, it is, on the contrary, a signifier. A
a multitude of linguistic signs that, through the act of photographing, allows us to overcome them
"Classic" problems such as framing and technique, for example, and leads straight to the first,
absolute, foundation of photography: the gaze.
It does not matter which camera we use, which focal point we have at ours
disposition, what really matters in photography is the ability to "feel" the smells, the sounds
and the moods of the land we are furrowing, whatever it is.
A shot that we can define as "good" takes place in the gesture, but first, through a series of
exercises of imagination and identification.
The photographer is hardly objective as his photographic mindset is direct
consequence of its feeding that originates from the sensations linked to the
literature, music, the territory we live in, ideas and even utopias. So, if not
for purely technical and aesthetic reasons, photography does not come from photography.
The gaze needs to be nurtured.
The look must be detoxified.
The look should be sensitized.
The gaze must be recognized and cultivated daily.
So imagine that you have dynamite in your hands and do not have the means to do it
detonate. By nurturing, through a variety of stimuli, our personal "feeling"
day after day, we will have in our hands a warmth that will allow the shot to come out
for pure instinct, for an impulse that allows the photographer to identify himself so much with
to be invisible, in a constant play between the outside and the inside of the scene that one intends to portray,
always remembering that a good photograph, the one that allows our soul to vibrate,
it is not the fruit of our gesture, but it has been given to us and the only merit we can attribute to it
is to have RECOGNIZED it.
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