Venezia Canal Grande 16, series Surreal Landscapes, Limited Edition of 30, copy 2 of 30 Photograph

Carlo D'Orta (Italy, 1955). Art Photography. Art Studio in Rome, Piazza Crati 14, 00199. He has pursued his passion for photography for 40 years. He attended advanced painting classes at the Rome University of Fine Arts (RUFA) and a Master in Photography at the European Institut of Design (IED) in Milan, and devoted himself to the study of contemporary art. As a result, his photographic perspective undergoes a radical change. He abandons the documentary approach and try shots that tend towards abstraction, or tinged with a metaphysical/surrealist vision. The color sensitivity gained during the training gives to his photographs a strong painting characterization, sometimes because of limited interventions in post-production on lights and colors. He favors Architecture - focusing on de-contextualization of the details and the deformation produced by the reflection - and Dance. To the Architecture he dedicates first series "Berlin: White, Grey, Light" and "Vibrations" (in which it is clear the influence of futuristic vision), and later, from 2012, the series "Biocities" and "Geometries Still Life "(where instead there is a strong reminiscence of Cubism, Constructivism and moving color fields). In 2013 also starts the series "(Re)FineArt" aiming at a metaphysical vision of the architecture of large industrial complexes and whose title is a deliberate and provocative pun, combining the concept of art with that of one of the productions polluting what it is refining. To the Dance he approaches instead during his experience, from 2012, as component of the Board of National Academy of Dance. Born here the photographic series "Liquidance", where the focus is also often directed at particular decontextualized, shadows, vibration movement. In the last two years his research knows more strong evolutions arriving to the series titled "(De)Compositions". Here D'Orta, thanks to the shoot position and zoom, realise a strong compression of perspective and transformed landscapes of contemporary architecture in abstract geometries in which three-dimensional depth disappears. But then, using the geometric fragments that make up these photographs, she creates installations in plexiglass and glass sculptures in which recovers, but in a new way, the three-dimensionality of the original architecture.