"The photos of Erick Venturelli represent not only a beautiful documentation of the artistic installations carried out at the Carrières de Lumières. They have the rare privilege of grasping the essence, I would say the soul, of what is behind the visible appearance of the spectacle. His images collect what neither the video nor the eye of the attentive spectator can see: the movement, or even better, the interactive dance of images and the public characteristic of my work. They fix the magic of ephemeral vision, a moment stolen between two successive images, or that created by the juxtaposition of several visual planes that are superimposed in a unique and fleeting moment in the stage space of the quarries. They discreetly grasp the joyful spontaneity of the child who plays in the midst of art, the dreamy looks of visitors wandering, or the entwined complicity of the passing couple. We thought of this work as a tribute to eternal art reinterpreted in a new multimedia scenography. "
Let's talk about you. Tell us about yourself.
My name is Erick Venturelli, I am 58 years old. My basic training is scientific in geology and chemistry. On the face of it you can say that it has nothing to do with photography ... yet, few time ago, photography was also of the chemistry for the development of films and prints. For outdoor shots, geology has learned brought more precision to my vision in space and an understanding of the natural phenomena that are an integral part of a landscape photography. Sensitive to local traditions, it is precisely what I try to photograph in my travels to make my friends benefit and not to forget who we are.
Where do you get your inspiration?
In the first place, what inspires me are career shows and photos in difficult light, because we always have the feeling of finding and discover a mystery and then because it is a real technological challenge. In a normal photography, in general the walls do not move, here everything is moving and to have a beautiful picture, we must integrate all these parameters in low light to make a composition. I do not seek the exact representation of what I see more an interpretation of what I would like to see or imagine. It is a creative process.
What does your work actually involve?
The aim we are setting with the Gianfranco Iannuzzi is to create photographic images that convey the sensation that someone feels when she or he sees the show, that is to say that the spectator is herself or himself an actor of the show since it moves inside itself. It is not a matter of reproducing a fig image of the show over to restore the intense ephemeral bond that is created between the projected images and the visitor. I often take pictures of people, less than a meter without noticing me, as much as they are absorbed by the show. The best moments are those related to the lovers who intertwine or to the children and the couples who dance in the middle of the projection, giving the photos their real meaning.
Is there anything in particular that attracts you to working with museums or historical sites?
Yes, because is an infinite playground for photographic artistic creation. Never once is there the possibility of finding the same situation or the same atmosphere between the moving images and the public. I can stay for days and take pictures infinitely to compose the images as surrealist paintings. But I believe it is Gianfranco himself who speaks best of my work.