Innocence #4, New York 2009-2012 Photograph

Original Metallic C-Print - signed and numbered on a limited Edition of 7 - comes with a certificate of authenticity. Framed with double frame (black lacquer wood frame and stainless steel frame with museum glass) also available in black or white lacquer maple wood shadow box with museum glass ($12,000) -------------------------------- To create this series of photographs, Badessi came up with a technique that addresses some of the fascinating laws of physics that involve the reflection of light. This project allowed him also to approach the color theory on a unique way and to work with one of his preferred tools: symbolism. What makes the INNOCENCE series so unique is the fact that Badessi managed to exploit, with great relevance, the two main characteristics of the photography medium: the capturing of time in a fraction of a second and the use of light. When creating these images he was even able to provoke some type of solarization. A very interesting photographic phenomenon based with light, which is primarily experienced when making a print in the darkroom. Using a technique that he will not disclose, Badessi managed to obtain this effect directly when taking the photographs and not when printing. Badessi noticed that, once crunched, aluminum foil would reflect colors very intensely, like a mirror. To dedicate a new project based on the “fragility of life”—a subject that he had studied previously in the series American Dream, this is not a dream (2006)—he decided to use the above observation along with butterflies as the main symbolic element. Badessi created large-scale sculptures made of aluminum foil and applied stunning combinations of colors, using a method based on the reflection of light. The colors reflected vividly onto the aluminum and blended beautifully. Once satisfied by a specific combination of colors, Badessi froze the moment with his camera. This process enabled him to produce unique pieces that could only be captured once because any little movement of the panels would instantly change the physical aspect of the sculptures. He did not use Photoshop or projections of colored lights onto the sculptures to obtain these amazing colors and compositions. Instead, he relied on the natural physical reaction of light onto the reflective surface. Using this method he was able to obtain endless combinations of colors and shapes, as if he was a sculptor and a painter at the same time. Technically, the photographs were captured with an analog camera so, when looked at up-close, the viewers would be able to appreciate on the prints the beautiful grain of the film. Pixilation would also be avoided, for large-scale format prints.