The sound of silence 2

  • Sara Aletti
  • 2015
  • Inv. No. 281.16.10
  • Edition 30 + 2 AP
  • Categories: Paesaggio, Persone, Persone
Size M
50x75cm Dimensions
Inkjet pigmented print on paper Hahnemuhle Technique
Americana Frame Mounting
 

Two nearly identical images that can only be distinguished by one essential detail, which is placed at the bottom end of the frame, on the right. Sara Aletti prompts the observers to take on this new challenge: to understand what led her to make these two shots so similar that spotting the differences is nearly impossible.
Surrounded by a mountain landscape, a bare woman standing on the top of a cliff gazes at the valley beneath her. On her side there is a huge harp, the only artificial element in a picture that is otherwise all about nature. In the two images, the woman’s poses are not similar: the female body is either stretched up and offering itself fully to the observer’s eye, or curled up and turning her back to the observers. The portrayed woman’s attitude changes over the two shots, but there is one detail that always looks the same: the harp. The harp is always in the same place, and it’s interesting to point out that, in a series of photographs with the word “silence” in the title, it is the musical instrument that takes on such a determinant role.
Two nearly identical images that can only be distinguished by one essential detail, which is placed at the bottom end of the frame, on the right. Sara Aletti prompts the observers to take on this new challenge: to understand what led her to make these two shots so similar that spotting the differences is nearly impossible.
Surrounded by a mountain landscape, a bare woman standing on the top of a cliff gazes at the valley beneath her. On her side there is a huge harp, the only artificial element in a picture that is otherwise all about nature. In the two images, the woman’s poses are not similar: the female body is either stretched up and offering itself fully to the observer’s eye, or curled up and turning her back to the observers. The portrayed woman’s attitude changes over the two shots, but there is one detail that always looks the same: the harp. The harp is always in the same place, and it’s interesting to point out that, in a series of photographs with the word “silence” in the title, it is the musical instrument that takes on such a determinant role.
A young emerging talent, Sara Aletti gained momentum in the world of photography as a selflearned artist. She experimented various different genres and went through different artistic phases, gaining confidence about her artistic skills. Soon enough, her shots became as neat andwell-exposed as any professional photographer’s. This is when Aletti quits her artistic quest and specialises on one subject, which she feels more and more as her own: female nude. In her two series Just Her and Into the Mystic, female bodies are portrayed while laying on a bed of light or in the vastness of nature, conveying a powerful and sensual message. In the white bed sheets, naked bodies are stretching up or writhing, in a limbo where emotions swing between quietness and desperation: those looking at the image often cannot tell why the body portrayed has taken that position, and the question is left unanswered. Aletti never let us see her subjects’ face – that being the part of the body that reflects our emotions – and focuses on the body lines instead. In 2015, she finished Earth Calling, her best expression of a female nude surrounded by the wildness, a series where the female subject appears to the observers as she moves in the distance. Thanks to her talent, Sara Aletti achieved important goals and was awarded the first prize at the ARFFissima photo contest (in both 2014 and 2015). She was also offered the possibility of showing her project Into the Mystic in Turin, Italy on occasion of the exhibition Rewind-Rewild.