Friends Print - Limited Edition of 7

Ferrara Carlo was born in Novi Ligure in 1975. He began his interest in photography in 2006 and deepened his knowledge through attending seminars, courses and experiments. His interest pushes him to the rediscovery of analog photography and the darkroom while not forgetting the digital, with which he produces most of his works. To date, his production is based on modern surrealism with references to Rodney Smith and Magritte. Giuseppe Cicozzetti from Scriptphotography write about:CARLO FERRARA Organizing the untranslatable chaos of the geometries of chance. Or at least try, letting the messages coming from the dark prevail over reason. And that doesn't mean that a thin layer of humor doesn't lie in the darkness. The psychic associations, once called into collections, multiply themselves, generating themselves in free form, giving life to aesthetic formations that contrast with the mechanisms of thought, and in photography patterns of signs are organised. There is a reality within reality, and often the most indomitable of paradoxes is freed to communicate messages from the depths. Surrealist photography is a very popular genre in which authentic masters operate, or have done so in the past. Carlo Ferrara's photography comes close to the visions of Gilbert Garcin, minus the collages, but the terrain is the same: photographing what lives in the subconscious and bringing to light signs occluded to reason. But what brings Ferrara closer to Garcin lies in another peculiarity: the exposure of one's own person as the main subject of the compositions, obeying the irrepressible call that prevents the centrality of the scene from being deferred to others. The lessons of the greats must be studied meticulously and then memorized, and here Ferrara's compositions echo from time to time the "visions" of the spouses Shana and Robert Parkeharrison and, due to the humor underlying them, the images of Rodney Smith. Carlo Ferrara moves right at the center of the happy contradictions, including optical ones, which make surrealist photography a powerful expressive means. At the center there is always - or almost - only him, immersed in the ambiguity of objects bent to the alteration of distance, so that everything seems to be placed on the same level.