Fichi e Dipladenia

  • Simona Rizzo
  • 2012
  • Inv. No. 291.16.02
  • Edition 30 + 2 AP
  • Categories: Still life
Size M
45x70cm Dimensions
Digital Print on Fuji paper DP II Technique
Americana Frame Mounting
45x70cm Dimensions
Digital Print on Fuji paper DP II Technique
Mounted on Dibond Mounting

The light painting is the most characteristic technique employed by Simona Rizzo in her photographic activity. Rizzo “paints” with the light, giving birth to images which differ from each other for luminist contrasts and recall undoubtedly the Caravaggio’s painting in the 17th century. In this photo, the chosen subject is illuminated and highlighted, leaving everything around it in the darkness.
Simona Rizzo has become keen on photography as a hobby, when she was seven years old and her aunt gave her a second-hand camera as present. But her path took an unexpected turn and growing up she decided to dedicate herself to the study of the Classics. At the age of eighteen she enrolled in the faculty of Architecture at the Polytechnic University in Turin and, just before graduating, she got married and had two children. Their birth started a new period for the artist: from then on photography became her job. She studied as an autodidact, and then she attended many specialization courses organized by important figures in the artistic world, such as Ludovico Fossà and Francesco Ferla. As time went by she developed a great interest for a particular photographic technique, the light painting. It consists in illuminating the subject with a source of light as if it were a paintbrush, playing on chiaroscuro, the contrast between light and non-light. The subjects of the photos are still lives, result of studies conducted by the artist on some painters of the 17th century for a particular type of composition and organization of space. Still lives are characterized by a projection on a black background which exalts the objects in the foreground, while the space is organized on the basis of the golden ratio. Simona Rizzo’s unique style did not remain unnoticed for long, as the numerous publications of her artworks on the magazine Foto Cult demonstrates, some of which are kept in private collections.