The work of Christian Tagliavini can be experienced in many ways. Its duality of expressive artistry & meticulously controlled portraits, display a beautifully curated world of sitters posed within the handcrafted clothes made by the artist himself. Set against the backdrop of art history, referencing movements such as the Renaissance & Cubism, he wields his lens after the long complex process of designing, building & making to create his mise en scène.
Taking 13 months to complete1503 is largely inspired by the masters of the Renaissance, notably Agnolo di Cosimo (usually known as ‘Il Bronzino’) who was born in the same year as the title. This acknowledgement further implies the movement as a whole as Tagliavini orchestrates his production with a level of artistry & craft using more contemporary tools to bring his works to fruition. Sensually accentuating the lines of the body – just as Modigliani & Il Bronzino before him – Tagliavini’s images procure notions of grandeur coupled with the intimacy of traditional portraiture through the photographic medium. In order to enter this realm each photograph is the result of a series of complicated considerations & painstaking precision.
Often the model is found first, sometimes through the ‘casting call’ on his website or through agencies. However he has often approached people on the street, which despite the obvious difficulties in doing this has had great success in finding suitable people in the small town where he lives. His notions of beauty are not typical of the fashion world, finding men & women of all shapes & sizes aesthetically beautiful. He says, “In my experience, many beauties exist – no only one”. He brings out his sitters character in his work, designing the clothing to compliment each individual often making 2 or 3 prototypes before the final outfit is completed.
Poses are closely studied with each model to the nth degree, taking their look, hands, mood & overall effect into consideration. The process requires a large commitment from all involved with the process. Each photograph can take with up to 7 hours to shoot – preparatory work aside – with so many elements to consider. Tagliavini’s work is a labour of love from beginning to completion. He admits that he enjoys the process as much as the resulting photograph, constructing an aesthetic from scratch he feels is incredibly satisfying from a creative & philosophical point of view. With as much done in situ as possible, including the illusory lengthening of the neck Tagliavini reduces the amount of postproduction needed thus retaining the immediacy of the image beautifully.
Titling the portraits to coincide with the Renaissance oeuvre, some of the names used were found in records of an orphanage register from the 1500’s. This added ‘construct’ is another layer to the literal ‘paper trail’ he embarks upon with each photograph. Using cardboard & paper in place of material allows Tagliavini to design each item from the patterning to the final construction of form completely. In Dame Di Cartone (literal translation: ‘Cardboard Ladies’) several influences from art history & other eras are again present resulting in striking imagery. Cubism, the 17th Century & the 1950’s are rendered with extraordinary flare. The aesthetic & indeed title of the series more openly suggest the implication of fabrication through his use of 2 dimensional materials. With intricate lighting to enhance the dimensionality of each outfit gives form to his otherwise 3 dimensional models. Tagliavini is fully aware of the irony he portrays & playfully indicates the impermanence of fashion throughout the ages. With styles & influences destined ever to return in contemporary design, he revels in this, producing some of the most dynamic portraiture to be displayed in this his first UK solo show.
Christian Tagliavini
‘Cut Out & Keep’ – 1503 & Dame Di Cartone
On view until January 12, 2012
Diemar/Noble Photography
66/67 Wells Street,
London W1T 3PY
