Mikonos # 2

  • Carlo D'Orta
  • 2016
  • Inv. No. 296.16.10
  • Edition 9 + 2 AP
  • Categories: Architettura, Still life, Astratto

The Cycladic architecture is remarkable for its white cubic or polygonal buildings, often topped by blue or red domes. These characteristic details captured the attention of the photographer. The artist - extrapolating a fragment of a house in Mykonos - creates a simple composition, with a strong pictorial sensibility, where forms, shapes and colours are showing, once again, the essential elements of Carlo d’Orta’s expressive project.
In these images Carlo D’Orta presents his audience with a new idea of the relation between photography and architecture. The buildings are not photographed in their entirety, but the photographer is attracted by the details, small portions of lines, shape and colours which are shaped  by the  camera. All these essential elements are separated from the context and, also because of this, become something new and different: Carlo D’Orta offers, in fact, a new series of graphic views, essential shapes transformed into symbols with an evident pictorial characterization. In this way, these architectonical particulars are carried into the field of abstraction, metaphor, and symbols. The brick wall, which frame the handrail and the stair, is brought outside of its real use and has to be understood as lattice of shapes and lines, where the white and blue of the paint can be associated to the sea beating against the shore. Therefore, the communicative strength of the series lies in its ability to break the connection with what is tangible, leading the eyes and the mind  of the observer to another reality.
D’Orta, who was already a photographer for passion, decided to enhance his artistic aptitudes. He attended advanced painting and photography courses at the University of Fine Arts in Rome and IED in Milan: his photographic technique transformed completely. The artist started to dedicate himself to a style, which tends to artistic abstraction and makes the importance of the colour to stand out in such a way that his photographs result to be similar to pictorial representation. The object of his photography are often architectonical details, preferably taken out of contest, or portraits, deformed by the reflections of the glass walls, such as the ones in the two series of Berlin: il Bianco, il Grigio ,la Luce e Vibrazioni . Meanwhile, he reached a peculiar surrealistic inclination, which found its highest expression in Paesaggi Surreali : the characteristic technique of using mirrors to deform the image gives value to the movement. Then, D’Orta obtained attention for his shapes and geometric abstraction and in 2013 he started the series (Re)FineArt. In this latter one he portrayed large refineries and industrial complex, reassessed from an artistic point of view. D’Orta returns back to tridimensionality with the series (S)Composizioni. Between 2012 and 2015 he created the series Liquidance for the Accademia Nazionale di Danza.
In 2015 he took part in Art Fair (Romberg Contemporary Art Gallery). In 2016 he took part in the MIA Photo Fair with Biocities II, Traslazioni e Vibrazioni  curated by Italo Bergamini. In 2017 his exhibition Italian Vibrations was at the National Museum of Singapore, with the sponsorship of the Italian Institute of Culture in Singapore. His artworks are conserved in many public collections, such the Contemporary Art Museum of Palazzo Calicola, Collezione 2.0 (Spoleto) and the Italian Institute of Culture in New York. He took part in several national and international completion, such as the Sony World Phtography Award and he exhibited his artwork in many public galleries in Italy and Germany; his interviews were published in Artitude (2011), AdToday (2014) and InsideArt (2016).