fabrizioalessiphotography:

Mexico con Amore

© Fabrizio Alessi 

Nagasaki .© Fabrizio Alessi 

www.fabrizioalessi.com

Chasing away the Demons . Goa Gajah , Bali.

The faces in New York remind me of people who played a game and lost. Murray Kempton

cafalvella:

cafalvella:

Fabrizio, write about you was a delight because delicious are your photos.

                                Fabrizio Alessi: PURE LIFE

Fabrizio Alessi is a Photographer. Fabrizio Alessi is a Photographer as one necessarily chooses. Fabrizio Alessi is a street and on street Photographer. Fabrizio Alessi is a potent Photographer.

Why these four almost apodictic statements, not as a preamble, but as four seemingly algid slashings, to make a diamond seal by anticipating  the examination of the Photographer’s work, and speaking about it? Because it is essential, provided that the essence would exist, to have the capability to immediately, but circumscribe the Fabrizio’s photographic “cosmically” world from the real world: well, it is not necessary… He gives an account of the facts (and the objectives facts really do exist, there is no doubt) just because He has those four qualities I mentioned above. Besides the learning  photography that He made, He is a Photographer because of the symbiosis that He has between himself and the camera which is an innate one. He is a Photographer as one necessarily chooses, because a Man during his life has always at least two chances at a cross-roads, at fork, at “Trivium-cross” at “Quadrivium-cross”. Has Fabrizio made a choice? Yes, but it was a necessary choice so irrepressible He has the instinctive force of telling by “eternalizing” (here this word is not a commonplace or an hyperbole as we will see later on) in a single shot a whole world even if it is only a couple of eyes, a face, an act or a set that the materiality of the street fits out for Him. Fabrizio is potent: just so, the power, there is no other word to dodge into the dish of His shots (yes true and real “shots [like a firearm]” not clicks) could, or better can, recognize how He viscerally, blood, fleshly and carnally, joints Himself, the camera, and the surrounding world in an unique “theatral” contrivance to photograph that casual and causal normality which flows before us without being recognized for what it is: a single and unrepeatable instant on the three Cartesian axes, in the four dimensions of time of the infinite worlds into the infinite spaces to infinite times.

Those details, which are so assimilated by that fist into stomach, which represents the first effectual reaction for instance before one of His portraits, but at a next glance, one microsecond later, without paying more attention but by simply moving the eyes hypnotized by the main subject, they are flowing still but mobile, to complete the intuition of the picture. Details, which really could seem absent, but on the contrary just because they are discreet and at same time very refined, give the image a deep prospective glimmering. Fabrizio Alessi as Photographer, Photographer as one necessary chooses, as street and on the street Photographer, as potent Photographer, can tell us the essence of reality. Even if the essence should not exist into this synergic complex, which just consists of Fabrizio at work, it would be, better it will be; “generated”.

What does it matter if the sentence “who saves one life, he saves the world“ would be Yiddish, Hebraic, would be quoted by the Bible, Torah, all the Middle East culture or would just be an expression of speaking, a sentence, or a metaphor full of hope and confident resigned optimism? What it matters is just that a “shot”, a click of Fabrizio develops the Art of His Photography (because the Photography is an Art, and toward who denies it or of it ago a contemporary allegorical metaphor of the Painting, certain I would not put hand to the gun, but to a good Mont Blanc, of course) into a λογος/action (λογος i.e. Lemma), a δραμα (δραμα i.e. Motion), rescuing not cathartic one, yes a rescuing one because that instant which encloses the world surrounding the subject and the immanent objectivity of time, space and place of the “shot” will remain to tell us not only an adventure, an event, simple or complex, but the tragicalness of truth (because the “truth”, even if  nice and good, even if friendly, contains in itself the terms of tragicalness), “tragicalness” which will remain in as much as it is photographed ontologically living, made substance, witnessing stuff, being and existing one. Why is rescuing and not cathartic that λογοσ/action (λογος i.e. lemma), that drama? Because I don’t know if Fabrizio, consciously or not (I said that He is a Photographer as one necessarily chooses) abandons lines, naked and crude, pure, shapes, colours or monocolourings, an  object (in the more authorative meaning of the word) in our hands and leave to us the choice of redemption, or simple aesthetical pleasure, or possible analysis, or of being completely or inattentivenessly  acquainted, or looking at it for an instant forgetful of ourselves, or judging or not what seems to Him visible. After all this is not the author’s aim.

The aim of His act, His action, His shot is to wash the reality for regenerating it, for re-creating it, for confirming it and for getting its substance; for creating it ex novo from nothing, in as much as what He photographs for being objectively and realistically retransmitted  to the observer must undergo a process of annihilment and resurrection. “Revival”. And Fabrizio performs instinctively this process; if we would analyse the technique, either that merely related to the parameters of the camera, either related to the light and contrasts, shadings, underlinings, accents and tones of colour or monocolourings which might be, we would fall into an awkward situation, in a difficult puzzle but without key for coming out and beyond; moreover we will get nothing, on the contrary the technique analysis would impoverish the Fabrizio Alessi’s work, would  lessen it without either a target and a measure; from the reasons above said and from the manner He works we can reach an unique conclusion, or better, two identical and at same time synthetically ones: the centrality of the picture is everything, the whole, involving and involved one into the subject and that innate alchemistical mixture creates on the web as well as on the printed  paper a simulated three-dimensional effect, as it would carve a bass/middle-relief made only by disfeatures, spaces intentionally absent, presence of bright material, or lack of a shaded structure.

As matter of fact, a  “no-technique”, the same deprivation of the technique to allow that the surrounding reality would decide which method and manner is better for not describing but physiologically and organically impressing it, for catching the  instantaneous and unmediated deepness  without distorting it.

Caution; Fabrizio Alessi besides the learning photography He made is a decennary experience Photographer and what was all the time and/or became an innate capability, voluntarily involuntary, does not spring up from either type of casualty or from a Manzonian chance which by arranging at blind eyes light and shades reaches the end result. Fabrizio Alessi knows how to catch, unite and  refer to a real and concrete reading (some time even a simple one even into its complexity); there is no other synonymous: ontological one. Nothing more, but above all, nothing less.

Fabrizio Alessi street Photographer but in an aristocratically manner.

Why? Because although He is in most of cases a street Photographer, He is a man who amalgamates Himself to such an extent with the street, becomes “plastic and pliable” with the street to become part of it. Fabrizio Alessi is an aristocrat (etymologically, “better”) as much as for sure not by frequenting the Fifth Avenue, even if would be there among griffes and high fashion He could be successful in finding the right concentration on events and things without irony and sarcasm – He gets the “candid “ meaning of a moment of daily ordinary or extraordinary normal complexity, because with the camera into the hands the distinction of His profession overspills; it overspills because there is no second aim, no willingness to show pictures for catching at own benefit the other people’s life, events, perhaps unlucky ones or adverse ones to Fabrizio himself.

On the contrary, as such His pictures are real and realistic ones, thus Fabrizio gives presents; we cannot say that He improves them because the certain charm and particularity of His shots are just those of leaving us with the pure and often hard concreteness, touchable but sticking to the “subject”, event, single person but presenting them with an additional “quid”, a metaphysical  greatness which makes extremely greater that photographed moment. The look of an toothless lady from Bali who smiles close to the clenched fists of a boy proud of his tattoos on the knuckles tells us much more on that place than thousand considerations of sociologists who are hoisting as a flag their academic degrees; the look, which might appear ferocious (and may it is so), of a Vietnamese man who is attending to own affairs communicates to us a harshness common and contiguous to that place, probably a harshness which instead during a dialectic contact even with a foreigner  becomes the most friendly hospitality.

A shouting, bawling, vainly careless crowd which waves dirty money betting  on a cock-fight, it shows for sure the unavoidable pitilessness which makes as a perimeter and border to the people, however makes room either to the normal  mixed “humanity“ which our terraqueous globe consists of and to deem each participant as a single apart  person, as “that Kantianindividualman” who, besides his participation to a wild amusing rite, has own thoughts, a personal feeling of the world, emotions and loves; this and all this makes Fabrizio an aristocrat, an aristocratic on the street Photographer.

     Eventually, if the audience  at a wrestling show in the very civilized  States is other than the Cambodian one, what makes this possible difference?

Well, only Fabrizio could explain it - better than an admirable artist, sole and solely true, credible, precise, and reliable Photographer - with  some of His shots. He would explain it, allowing us hermeneutically to achieve it, leaving to us the intuitive conclusion, the last word and our peculiar point of view.

At His manner, with own modalities, with  His  οθοσ  (i.e. Way) and His μεθοδοσ (i.e. Method), but – of course – as every superlative Photographer acts makes and is capable to do.

[Art©opy ©åƒ]

(All ®ight Reserved)

Fabrizio Alessi: PURE LIFE

OGOH OGOH . Bali, Indonesia  

8 march 2016 

© Fabrizio Alessi 

Dance !!! Yaounde, Cameroun 

© Fabrizio Alessi 

Aunt Adama, Yaounde , Cameroun

© Fabrizio Alessi 

“Arturo Bandini: -What does happiness mean to you Camilla?
Camilla: -That you can fall in love with whoever you want to,
and not feel ashamed of it.”
― John Fante, Ask the Dust