Paolo Roversi in Galliera musée de la mode de la ville de Paris

Mafi rinjayen ayyukan Roversi gaba daya, kuma a wannan baje kolin, hotuna ne (ko da yake akwai kuma hotunan kyamarar da ya fi so da kuma kare daya watakila shi ma ya fi so, amma su ma, sun fi so. hotuna iri-iri). Kuma godiya ga ƙayyadaddun yanayin aikinsa, yawancin batutuwan hotuna sune samfuri; ya yi aiki tare da dukan shahararrun fashion model na karshe shekaru 30, amma da wuya ya harbe hotuna na celebrities. Amma ko da a lokacin da harbi shahararrun model, bai taba sake fitar da clichés saba wa jama'a: ba ya buga batutuwa a matsayin sexy alloli, flirty 'yan mata, androgynous androids, ko wasu shahararrun stereotypes. A cikin ɗaya daga cikin tambayoyinsa, Roversi ya faɗi abubuwa masu zuwa game da fasahar sa, kodayake ya kira ta "fasahar", ba "art" ba: "Dukkanmu muna da nau'in abin rufe fuska. Sai kinyi bankwana, kinyi murmushi, kina tsoro. Ina ƙoƙarin cire duk waɗannan masks ɗin kuma in rage kaɗan kaɗan har sai kuna da wani abu mai tsafta. Wani irin watsi, irin rashi. Yana kama da rashi, amma a gaskiya idan akwai wannan fanko ina tsammanin kyawun ciki yana fitowa. Wannan ita ce dabara ta."

Kate Moss ba ta yi kama da sarauniyar heroin chic ba, Natalia Vodianova ba ta yi kama da firgita ba, kuma Stella Tennant ba ta yi kama da Virginia Woolf ta Orlando. Abin da ya faru da su duka shine ainihin abin da Roversi ya ce: yana cire duk waɗannan abubuwan rufe fuska har sai wani abu mai tsabta ya rage. Abin takaici, wannan ɓarkewar da kyamararsa ta ƙirƙira ba ta ƙara tazara tsakanin mai kallo da ƙirar ba, amma yana rage shi, yana kusantar da su kusa da mu cikin mutuntakarsu, tare da duk wani ɓacin rai na kansu. Wannan shi ne sananne musamman a cikin jerin Nudi, wanda ya fara a cikin 1983 tare da hoton tsiraici na Inès de La Fressange na Vogue Homme, wanda aka harbe a tsayin aikinta, sannan ya ci gaba da zaman kansa na aikinsa, inda ya dauki hoton shahara kuma bai shahara sosai ba. samfura. Koyaushe a cikin hanya ɗaya - tsirara, cikakkun hotuna masu girma, kallon kai tsaye cikin kyamara, ƙarƙashin cikakken haske kai tsaye ba tare da inuwa ba, harbi a baki da fari, sa'an nan kuma sake harbi a kan 20x30 Polaroid - kuma wannan alama mai nisa da haɗin kai yana da tasiri. ya haifar da zurfi na musamman da bayyanawa. Ana tattara su a wurin baje kolin a wani daki na daban - kuma watakila wannan shi ne bangaren da ya fi tabawa, domin wadannan tsirara ba su da wani jima'i.

Gaba ɗaya, Roversi yana son yin aiki da kyamarar Polaroid 8x10, fim ɗin da ba a sake yin shi ba, kuma mai ɗaukar hoto kamar yadda ya ce ya sayi duk abin da zai iya samu. Wannan kyamarar ta zo da alaƙa da salo na musamman kuma sanannen salo wanda ke amfani da launi da haske don ƙirƙirar tasirin zane. Kuma ko da lokacin da yake amfani da wasu kyamarori, tasirin yana nan. Mutane da yawa sun yi ƙoƙari kuma suna ƙoƙarin yin kwafin wannan sakamako, amma sakamakon yawanci wani abu ne mai tunawa da aikin AI. Ana iya ganin ainihin ainihin sihiri na Roversi dalla-dalla a wurin nunin - a cikin harbe-harbensa na Vogue France, Vogue Italia, Egoïste, da Abincin rana, a cikin kamfen ɗinsa na Yohji Yamamoto, Comme des Garcons, da Romeo Gigli. Aikin baje kolin Ania Martchenko, wadda ta ƙirƙira da dama daga cikin sa hannunta trompe-l’œil a cikin hanyar taga ko kuma wata kofa mai buɗewa da ke fitar da haske, ta nanata yadda maigidan yake amfani da haske a misaltuwa da kuma a zahiri.

Amma mu'amalar Paolo Roversi tare da kayan kwalliya, tare da tarin kayan kwalliya, ta banbanta sosai - yana harbi ta hanyar da ta sa ya zama batu na biyu na hoton, amma hotunan ba su daina zama salo ba. Kamar yadda ya ce da kansa: “Tufafin babban sashe ne na hoton salon. Babban bangare ne na batun. Ko da a gare ni, kowane hoto na kayan ado yana kama da hoto - Ina gani kuma na dauki kowane hoto a matsayin hoto, na mace ko namiji ko yaro - amma tufafin suna nan kullum kuma suna iya yin fassarar hoton da yawa. mafi wahala.”

Courtity: © Paolo Roversi

Text: Elena Stafyeva