Persona February, 20th 2020 by

World Fine Art Professionals and their Key-Pieces, 252 – Connie Bellantonio

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World Fine Art Professionals and their Key-Pieces, 252 – Connie Bellantonio
At the ‘Il Segreto di Eva’ exhibition in Breed art studios there were some black-and-white photos of exuberantly fanned-out leached trees with branches that shot in all directions. If you looked closely, you saw a person hidden in the twigs who, in terms of shape and leaching, almost disappeared into the trees.

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The photos, made by Connie Bellantonio, were entitled ‘Anamorfosi’. Anamorphosis is originally a Greek word meaning the reshaping (ana) of a form or image (Morfe). Since the Renaissance, artists have reshaped and experimented with reshaping perspectives on images.

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The central theme of Connie Bellantonio is human history. Through the ages, humanity is developing and that changes the course of history. This is achieved, among other things, by the use of new technology. All progress comes through man’s thinking and actions.

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With this in mind, she uses her camera as a sort of telescope. Connie Bellantonio: “The subject is immense so I use the lens of the camera as if it were a lens of magnification to observe details of everyday life that escape us. For example, the work ‘Anamorphosis’ presented in the exhibition is a title that has more meanings: in geometry a perspective deformation results which allows the right vision only from a certain point of view ( a widespread method among the painters of 1600-1700), in biology there is the tendency of nature to generate more complex forms with a growing differentiation and specialization of organisms.”

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Absent subject
She has brought these two meanings (perspective deformation and the generation of more complex forms) together in the Man-Tree relationship or Life-Nature in constant flux, with an iconic flash of the past juxtaposed with one of the presenter, the photographer. Connie Bellantonio: “The result is a scenario in which the subject is absent to make room for the hybridization of two images.”

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Asked for a key work she says that it difficult to discern one specific work. “In each of my work there is a reference to the main theme that I develop in different ways. For example by using male or female models or by making a photo-collage of already existing images as in Ri-tratto, a work that does not represent any physical reality and that asks us to enter with our imagination into the refined game of feelings.

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I do it by comparing (juxtapositioning) pictorial portraits of around 1500-1600 in connection and figures drawn from glossy pages of our times. Viewed in this way mankind doesn’t seem to change much through all centuries.”

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Always studying
In the 70s she was looking for a frame that fitted her ideas best. She cut out a detail of an image she liked best allowing her to imagine unknown worlds. Only then did she buy her first camera and began her first photographic experiments.

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“Surely I have to thank my History of Art professor who made me interested in Art in a complete way. Since then I have not stopped studying. On the contrary the stimuli have increased like the desire to express myself and create. I don’t know if my works are original or not, if they are art or not. It is not for me to judge.”

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Content and form
The creative process is a way of being, doing, a final phase in which you create something new. Connie Bellantonio finally: “In the 21st century, the techniques available are as many and varied as there are different types of photowork. What makes the difference, in my opinion, is the relationship between content and form. This has infinite variations but is as always reflecting and testifying to the time in which we live.”

Images: 1) Anamorfosi 1, 2) Anamorfosi 2, 3) Anamorfosi 3, 4) Ri-tratto, 2015, 5) Ri-tratto 3, 6) no title, 7) L’ombra di sera 11, 8) Belli da morire 17, 9) Belli da morire 12, 10) Ri-tratto  

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