Carlo D'Orta Italia, b. 1955

Overview
I use the camera not to document or report, but to extract from reality pictorial and abstract images that actually exist, but almost never know how to see.

 


 

My main subject is architecture. And my art is above all a search for the synthesis, the essential forms, the geometric combinations produced by the overlapping and interweaving of architectural structures that populate our cities. I'm not interested in buildings in themselves, nor in reality at first sight. I focus on lines, intersections, combinations of shapes. This is why I look for particular perspectives, unusual points of view, angles and visual glimpses from which the architectures are mixed in a dialogue of lines, shapes, contrasts of light and color that takes on an almost biological meaning.

 

Works
  • Carlo D'Orta, NYC # 14, 2019
    Carlo D'Orta
    NYC # 14, 2019
    Photography
    80 x 47 cm
    Edition of 3 (1 of 3)
  • Carlo D'Orta, NYC # 6, 2019
    Carlo D'Orta
    NYC # 6, 2019
    Photography
    120 x 83 cm
    Edition of 3 (1 of 3)
  • Carlo D'Orta, Singapore # 25, 2019
    Carlo D'Orta
    Singapore # 25, 2019
    Photography
    50 x 80 cm
    Edizione di 3 (n. 1 di 3)
  • Carlo D'Orta, Roma Eur Nuvola # 2, 2017
    Carlo D'Orta
    Roma Eur Nuvola # 2, 2017
    Photography
    53 x 80 cm
    Edition of 3 (1 of 3)
  • Carlo D'Orta, Roma Eur Nuvola # 8, 2017
    Carlo D'Orta
    Roma Eur Nuvola # 8, 2017
    Photography
    60 x 90 cm
    Edizione di 3 (n. 3 di 3)
  • Carlo D'Orta, Bologna # 6, 2016
    Carlo D'Orta
    Bologna # 6, 2016
    Photography
    82 x 80 cm
    Edition of 3 (1 of 3)
  • Carlo D'Orta, Baires # 2, 2016
    Carlo D'Orta
    Baires # 2, 2016
    Photography
    58 x 80 cm
    Edition of 3 (1 of 3)
  • Carlo D'Orta, Lione MC # 1, 2014
    Carlo D'Orta
    Lione MC # 1, 2014
    Photography
    70 x 100 cm
    Edition of 3 (1 of 3)
  • Carlo D'Orta, Lione MC # 14, 2014
    Carlo D'Orta
    Lione MC # 14, 2014
    Photography
    70 x 100 cm
    Edition of 3 (1 of 3)
  • Carlo D'Orta, Londra # 1, 2012
    Carlo D'Orta
    Londra # 1, 2012
    Photography
    82 x 120 cm
    Edition of 3 (2 of 3)
  • Carlo D'Orta, Frankfurt FRKE # 1, 2011
    Carlo D'Orta
    Frankfurt FRKE # 1, 2011
    Photography
    40 x60 cm
    Edition of 3 (2 of 3)
Biography

Carlo D’Orta was born in Florence in 1955.

 

He has been a traveler and photographer for over 40 years, dedicating himself to the study of contemporary art and refining his skills with advanced courses in painting within the Rome University of Fine Arts (RUFA) and a master in photography at the European Institute of Design (IED) in Milan.

 

He has been exhibiting his work since 2009 in solo exhibitions at public institutions and private galleries in Italy, Germany, Singapore and other countries, as well as at art fairs in Italy, England, France and Belgium. In 2013 he held his first solo exhibition, Biology of the Inorganic, in a museum institution, the Palazzo Collicola Museum of Contemporary Art in Spoleto (Perugia, Italy). In 2015, the Officina delle Zattere in Venice hosted, next to the Guatemala Pavilion at the Biennale d'Arte, his solo exhibition Beyond the Lens. The same exhibition was then also taken to the Pomona Temple in Salerno. In January 2017, the National Museum of Singapore hosted an event dedicated to his Vibrations series, and the exhibition was shown again at the Bruno Art Group Gallery in Singapore in the following months. In 2018 the museum of the Central State Archives in Rome, and then the Orbetello Photography Festival and the gallery of the IPSAR - Portuguese Institute of St. Anthony in Rome hosted his exhibition dedicated to 80 years of architecture in the EUR district of Rome.

 

He has won, been finalist or short-listed in numerous national and international awards, including: PX3 Paris, 3 ° Biennale Arte Contemporanea Genova, Sony World Photography Award, Celeste Prize, Rospigliosi Award, Satura International Contest, Colleferro Art and Architecture Award, Arteam Cup, Malamegi Vision Art Contest, Linx Award, Abate Zanetti Murano Glass School Award (as photo-designer), Enegan Art Award, Urban Photo Award.

 

His large-format works are displayed in numerous Public and Institutional collections, including: Museum of the Central State Archives, Congress Center of the Bank of Italy in Rome, Chamber of Deputies, Order of Lawyers in the Palazzo di Giustizia in Milan, Regional Council of Campania, Communication Authority (AGCOM, Rome), EUR SpA (Rome, Presidency), Confindustria (Headquarters, Presidency), Carabinieri Officers School (Rome) Museum, Architektenkammer Baden-Wurttemberg (Stuttgart, Germany), LUISS Guido Carli , ENI (Headquarters in Rome), Italian Cultural Institute in New York, Consulate General of Italy in New York, Italian Cultural Institute in Munich, Portuguese Institute of Sant'Antonio (IPSAR, Rome), School of Glass Abate Zanetti of Murano, Umberto I Polyclinic Hospital (Rome), Negri-Clementi Law Firm (Milan), Dario Mellone Foundation (Milan), DeA Capital RE (Rome).

 

Additionally, between 2015-2017, his projects "(S) Composizioni-Metafora della Vita", "Vibrazioni", "Liquidance" and "Eur 42 / Today: Different visions", were chosen to become part of the Archive of the Malerba Photography Fund, a prestigious institution dedicated to the promotion of photography at national and international level, which in 2019 displayed his photographs of the Vibrations series organized in Tokyo and Cuba.

Introduction

I am a fine-art photographer, an artist in the photography branch. I use the camera not to document or report, but to extract from reality pictorial and abstract images that actually exist, but almost never know how to see.

 

My main subject is architecture. And my art is above all a search for the synthesis, the essential forms, the geometric combinations produced by the overlapping and interweaving of architectural structures that populate our cities. I'm not interested in buildings in themselves, nor in reality at first sight. I focus on lines, intersections, combinations of shapes. This is why I look for particular perspectives, unusual points of view, angles and visual glimpses from which the architectures are mixed in a dialogue of lines, shapes, contrasts of light and color that takes on an almost biological meaning.

 

My photographs can sometimes look like collages, but they are not. The intersections of shapes and geometries are not realized in post-production or at the computer, but they really exist in reality: they are the result of perspective and the search for points of view from which distinct structures and forms, physically separated from each other, appear instead to our look as if merged and united.

 

This is the meaning above all of my “Biocitiesseries, which has its roots and deepest inspiration in the abstract art of Mondrian, Malevich, El Lissitzky, Rothko, Peter Halley, in the photography of Franco Fontana and Lucien Hervé and perhaps - just for the effort to go with my shots beyond the physical data, to arrive at a new meta-reality - even in the vision of the metaphysical cities and squares of De Chirico. And it is also the meaning of the Geometrie Still Life series, which differs from Biocities because it focuses on classic Mediterranean architectures rather than contemporary ones.

 

But, in his profound difference, even the series of landscapes that I titled “Vibrations” responds to the same basic logic. Here my goal is focused on crystal glass and metal surfaces that reflect, deforming, the architecture all around. The fruit are images between the abstract and the surrealist, in which the shapes of the original architectural structures dissolve into games of lights and colors that are absolutely unpredictable. They are images that exist in reality, but they change immediately and even disappear as soon as one moves one step. Here sometimes I modify the colors in post-production (but only the colors, never the shapes). And here the deep inspiration, what leads me to seek and find these visions, is probably in Futurism, with the lesson of Balla, Boccioni, Carrà and Severini, and in Surrealism and Modernism, especially with the architectural lesson of Gaudì.

To explain my way of looking and photographing I like to quote the phrases of three great men of culture:


"If you want to teach the human eye to see in a new way, it is necessary to show him everyday and familiar objects from totally different perspectives, situations and angles" (Aleksnadr M. Rodchenko)

"The journey of discovery consists not in seeking new lands, but in having new eyes" (Marcel Proust)

"Creative photography should not reproduce, but interpret making the invisible visible" (Franco Fontana)

 

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