AUTHOR: CARLO GUIDETTI

TITLE: NEWSPAPER EXTRACT

TECHNIQUE: PHOTO ON SHEET METAL

FORMAT: 50X70 cm

EXAMPLE: single piece 

CERTIFICATION: Authentication provided directly by the artist

 note well: colors may be slightly different from those displayed on your monitor.

THE WIKIARTE GALLERY  

IT HAS TWO GALLERIES IN THE HEART OF BOLOGNA

1) VIA SAN FELICE 18/A 

2) FALCONE BORSELLINO GALLERY 2/D

WHERE YOU CAN SEE THE WORKS FOR SALE BY MAKING AN APPOINTMENT

SALES DOCUMENTATION IS PROVIDED IN ACCORDANCE WITH THE LAW.

For payments via Paypal no added commission

Resellers interested in the works can contact us at the following email address 

REMEMBER TO ADD US TO YOUR FAVORITE STORE

Biographical notes on the Artist

CARLO GUIDETTI

Carlo Guidetti has been defined as a 'photographer of emotions' and it couldn't be otherwise. The external world takes on new appearances deriving from perceptions, rather than from the mechanical recording of Images. Guidetti's works arise from emotions and, in the graphic reworking phase, he undertakes an intimate and introspective path, aimed at dwelling on the sensations that the external world arouses. In fact, it is not reality as such that is crystallized by its lens, but rather the image outside of time and outside of space that externalizes a way of feeling. This is a value that merges with the feelings of the users, of the observers, in which the way of looking symbolizes the path that starts from the eye and mind of the Emilian photographer, and reaches the eye and mind of the spectator, all of this, naturally, traveling in the wake of the emotions which in Guidetti first, and then in the observer, becomes the tro/t d'union of his entire artistic poetics. Photography, since its dawn, functions, so to speak, conceptually when it retains within itself these characteristics - and if not all, at least part of them -: memory, identification, certification, maintenance, substitution, distortion of presence/absence, parallelism with virtual reality and voyeurism. Looking at a photograph is, in fact, looking at the act of looking, with all that entails. The photographer Edward Weston stated that "by varying the position of the camera, the lens or the focal depth of the lens, the photographer can obtain an infinite number of compositions with a single immobile subject... only long experience will make the photographer capable to subordinate technical considerations to pictorial purposes.” According to all these theoretical actions, the work of a photographer takes place and so it is for Carlo Guidetti, who opts for a unique, original mélange that willingly gives in to experimentation. His research includes an analysis that also looks at human space, that is, those of cities, inhabited places and places its foundations on his profession as an engineer and, from this double feeling, mathematical, if we want, and sensitive, develops the the idea of ​​creating a reality which, starting from objective observation, can move to another level, which has something new in itself, not already and not only from a formal point of view - Which in any case, admiring his photographs, one it is evident - as much as from a psychological point of view. The placing oneself at the crossroads between the sensible world and the intelligible world is Guidetti's modus operandi but, at the same time, it must necessarily also be the modus fruendi of his art.

AA.VV.

Carlo Guidetti has been defined as a 'photographer of emotions' and it couldn't be otherwise. The external world takes on new appearances deriving from perceptions, rather than from the mechanical recording of Images. Guidetti's works arise from emotions and, in the graphic reworking phase, he undertakes an intimate and introspective path, aimed at dwelling on the sensations that the external world arouses. In fact, it is not reality as such that is crystallized by its lens, but rather the image outside of time and outside of space that externalizes a way of feeling. This is a value that merges with the feelings of the users, of the observers, in which the way of looking symbolizes the path that starts from the eye and mind of the Emilian photographer, and reaches the eye and mind of the spectator, all of this, naturally, traveling in the wake of the emotions which in Guidetti first, and then in the observer, becomes the tro/t d'union of his entire artistic poetics. Photography, since its dawn, functions, so to speak, conceptually when it retains within itself these characteristics – and if not all, at least part of them -: memory, identification, certification, maintenance, substitution, distortion of presence/absence, parallelism with virtual reality and voyeurism. Looking at a photograph is, in fact, looking at the act of looking, with all that entails. The photographer Edward Weston stated that “by varying the position of the camera, the lens or the focal depth of the lens, the photographer can obtain an infinite number of compositions with a single immobile subject… only long experience will make him capable of the photographer to subordinate technical considerations to pictorial purposes.” According to all these theoretical actions, the work of a photographer takes place and so it is for Carlo Guidetti, who opts for a unique, original mélange that willingly gives in to experimentation. His research includes an analysis that also looks at human space, that is, those of cities, inhabited places and lays its foundations on his profession as an engineer and, from this double feeling, mathematical, if we want, and sensitive, develops the the idea of ​​creating a reality which, starting from objective observation, can move to another level, which has something new in itself, not already and not only from a formal point of view – Which however, admiring his photographs, one it is evident – ​​as much as from a psychological point of view. Positioning oneself at the crossroads between the sensitive world and the intelligible world is Guidetti's modus operandi but, at the same time, it must necessarily also be the modus fruendi of his art.

AA.VV.

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