Biocities. Cities and large industrial plants are made of thin webs which occasionally reveal their essence: textures of a life flowing also underneath or inside concrete geometries. My photography draws on the concept of a web which gets wider and provides the real world with a new skin. Architectural geometries and the points connecting interior and exterior spaces, urban landscape and people’s hidden life, are actually the DNA of a modern vertical city, as in a quest for an impossible integration with the environment. In my photographs the buildings turn into a cell-shaped structure that recreates life and the organic world. While dealing with the urban epithelium, my photographs displays some sort of biological nature. What matters is the emergence of their DNA through the shots: their evolutionary capability to highlight changing geometries and buildings that are less visible and in no way convey the life inside them. They are life themselves. My photos has detected their freestanding feature, their abstraction-related power which does not stand for absence; instead, it conveys the will to make the present last forever.
(S)Compositions. Lately, there has been a debate over what to do with the implicit need for photographic three-dimensionality. I have worked on the basic nature of the photograph, creating a sculptural double that breaks down and re-composes the print at the same time. My idea is an equation: sharp volumes split as a result of their duplication by means of modelled plates. A photograph is thus broken down into parts in the context of an installation process enabling multiple effects.
Carlo D’Orta (Firenze, 1955) lives and works in Rome (Italy).
