ConceptEuropeStill life Part XI by Stefania Piccioni

Still life can be a portal to a personal kind of history. In some ways it’s very intimate: the objects chosen by the Photographer  reveal what they consider to be either of social or cultural importance, or of personal value to them.
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Still life can be a portal to a personal kind of history. In some ways it’s very intimate: the objects chosen by the Photographer  reveal what they consider to be either of social or cultural importance, or of personal value to them.

In this Still life I let my imagination get away from me. The still life it is a tradition full of lavish, exotic and sometimes dark arrangements, rich with symbolic depth and meaning. The first photographers adopted the still life genre, they inherited a visual tradition established in centuries of painting.

Still life (or Vanitas) paintings communicated a moral or religious message. They particularly emphatised the shortness of life and the inevitability of decline and death. Many objects had complex allegorical or symbolic meanings. These were found in common motifs such as falling petals, decaying fruit. In  these still lifes I was inspired by the fall, I was arranging objects and traditional motifs to create visually pleasing arrangements. My intention was to  test the possibilities of photography through experiments of composition, framing and light; producing  photographs that have an enduring influence on contemporary work. There is an inextricable link between photography and light. Photography relies on light to illuminate the subject and to create the image. Here, the effects of light and shade are the main element of each composition. Artificial light is manipulated and captured so that its changing nature becomes the main focus of the photograph. In  these still lifes I  used conventional arrangements where  objects are carefully selected and ordered to create a visually pleasing or meaningful image. 

About Stefania Piccioni

Stefania Piccioni was born in Ascoli Piceno, Italia, November 9, 1970, who is the photographer daughter of a photographer father, She Graduate Diploma Photography in 1989 . Photography has been always Stefania’s work and passion. She development of this passion and in 2009, she finally jumped into the art of digital photography. Her shots captures the world as she feel it or imagine it. Her images are captured both in black and white and color creating timeless pictures of her imagination and desires. She had several group exhibitions In Italy: In 2014 she parteciped in the Thirth Biennale of Salento, Lecce. She won the thirth prize for Best photography in b/w ” Mille Modi Di essere Donna” Dream Factory Gallery, Milan 2014. She was selected in 2015 and 2016 editions of the Art Collective “In Contemporary Porcari 2016” – Special Mention sect. Photography 2016 -Porcari (LU) -) -2018 she exhibit in the city of photography, Senigallia, the Della Rovere fortress hosts a photographic exhibition dedicated to the annual acquisitions of the Archive, which since 2015 is located at the Musinf (Municipal Museum of Modern Art, Information and Photography of Senigallia.) The exhibition, organized by Prof. Giorgio Bonomi, offers a vast overview of the photographic self-portraits of Italian and foreign artists. Her Still life and Her self-portraits are part of the photographic archive Musinf- Senigallia (An). Her self Portrait are published in the art book on self-portrait by Giorgio Bonomi, edited Rubettino – Her photographs are part of collections public and private, are published on different Photo Magazine.

Still life Part XI | Stefania Piccioni

Still life Part XI | Stefania Piccioni

Still life Part XI | Stefania Piccioni

Still life Part XI | Stefania Piccioni

Still life Part XI | Stefania Piccioni

Still life Part XI | Stefania Piccioni

Still life Part XI | Stefania Piccioni

Still life Part XI | Stefania Piccioni

Still life Part XI | Stefania Piccioni

Still life Part XI | Stefania Piccioni

Still life Part XI | Stefania Piccioni

Still life Part XI | Stefania Piccioni



Legal Note: The photographer attest that have full authorization to give consent to the publication of these photos or project and have the authorization and permissions of third parties. Guarantees that you have all the necessary communications of property and you have obtained all the necessary authorizations for any property, buildings, architecture, structures or sculptures appearing in your photographs.

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