For this new f/50 project Keith and Matteo have investigated the elusive concept of “fluidity”. We started from Webster on-line dictionary definition and we have developed the “interpretation” through three shots each.
FLUIDITY: The quality of being fluid or capable of flowing; a liquid, äeriform, or gaseous; opposed to solidity. “It was this want of organization, this looseness and fluidity of the new movement, that made it penetrate through every class of society” J.R. Green
KEITH’S NOTES: Let’s images talk!
MATTEO’S NOTES: Fluidity is all about change and movement. Freezing this change with a camera is a hard challenge but it’s not impossible. Photography usually doesn’t “play” with movement so I’ve tried to recreate motion looking for contrast. In the first shot, sky-clouds (so fluid they look solid)-buildings-humans; in the second one, a light fog “running” over the water deleting shadows; in the last frame, the illusion of a man swimming in an ad I caught throught a futuristic invisible wall. In all three shots human presence — direct or indirect or even marginal — becomes an important element of the change, probably the most significant in contrast to the others.
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MATTEO CESCHI Milanese street photographer, essayist and freelance journalist, he writes and shoots for several magazines and has exhibited his shots in various locations. He collaborates with Swiss newspaper "La Regione". He is an author and radio host at RT Radio Terapia and collaborates with Radio Rock FM. His latest book, "Note per salvare il Pianeta", was published in 2020 by VoloLibero Edizioni. He is a member of f50/The International Photography Collective. His latest projects were in collaboration with f/50 fellows John Meehan, Steve Coleman and Keith Goldstein and with the Italian fashion brand Lucio Costa. He received an honorable mention at the 2015 International Photography Awards. In 2016 he realized with colleague Jim Marshall "KO.existence", a photographic project exhibited in Sarajevo and in 2017 in Milan (with high-patronage of the Italian Embassy in Bosnia and Herzegovina). In 2017 he was curator of an exhibition of historic photos entitled "Unseen Sixties" at ExpoWall gallery in Milan. In Spring 2017 he launched with creative designer Federico Ramponi remoteclicking, a new shooting language that exploits mobile technology. He was the author of the "making of" of artist and director Federico Garibaldi's short film, "Un filo tra cielo, terra e acqua", winner of the Silver Dolphin prize at the 2018 Cannes Corporate Media & TV Awards. In September 2019 he presented with colleague Jim Marshall "Rise and Fall", a multimedia exhibition produced by the Italian Embassy in Bosnia and Herzegovina and EU Info Centre in BiH at the History Museum of Bosnia Herzegovina, Sarajevo. At the end of 2019 he started a collaboration with Paula Nora Seegy’s Artespressione Gallery in Milan. From February 2020 to early May 2020 he realized his "Winter Midsummer Project" (curated by Matteo Pacini), a completely subjective photographic narrative project rich in details captured during the few occasions one was allowed to go outside during the pandemic. In September 2020, he presented "Out of the Night", an exhibition (curated by Matteo Pacini) dedicated to the contemporary Swiss jazz music scene curated by Matteo Pacini. In late September 2021 "Out of the Night" opened at the Galleria la Loggia in Carona, Switzerland.
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3 Replies to “FLUIDITY”
I love these interpretive challenges. Hard to execute, inspiring and instructive to compare results. Stimulating work guys. Best, John
My apologies to Matteo and to our viewers. I’ve been derelict in my response in words to this challenge. By day I am a photo editor and footage reviewer for a large photo agency. At times I feel a pull not to make footage per se, but to engage with a cinematic dialogue of images that flow from one to another in sequence. I don’t intentionally shoot this way. They appear in my normal work flow of acquiring images off my camera as I have shot them. Sometimes I recognize the sequence. Most times I stick to the one single image I feel has the most to say about that moment. Sometimes the sequence is much more then the experience of the single image, as I felt with this small sequence of three. The “fluidity” lies in the flow of one image to another as small extended experience.
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