The image of tomorrow will be the result of an encounter between the human psyche and the baroque one of the numerical world. This is the exciting terrain on which Paolo Nicola Rossini moves. He is not the only one to go into the new adventure, but as sometimes happens to the pioneers, he is definitely not required to know his fellow travelers. The images he is shaping have parallels in other human experiences and it is precisely the task of the critics to reveal them.
Everything has happened in this field, from the simultaneous experimentations of the various futurisms to the sublime surrealistic fantasies.
Photography has become mouldable matter just as the pictorial material was in the dawn of time.
And this is precisely the exciting field in which the practice of Paolo Nicola Rossini moves. Light, astrophysicists know it well, is matter and energy at the same time. It is objectively as malleable as matter is and as controllable as energy is. Here is the path of Rossini’s works. And here is the hidden reason that obliges photography to be sometimes art.

BIOGRAFIA

Paolo Nicola Rossini was born in Milan in 1972. He lives and works in Monaco. He developed his professional photographic research since 2007. In the beginning his photographic compositions and sequen-ces had the main purpose of catching the sense of time, movement and the change of scenery. Then by overlapping and “melting” photographes of landscapes, nature, urban environment, with details of raw surfaces, he created images that look almost indefinite and seem suspended in time. These works, included in the series “Passato Prossimo” (“After Present”), move from the concept of a present that becomes immediately past, the first steps toward dissolution. This theme is analalyzed further in the works included in the series “Disgregazione della Memoria” (“Fading Memory”). In these monochromatic photographs, shot using pinhole process, the subjects look even more vanishing. The sense of movement enhances further the blur of the images which seem to disappear in the grainy background. Time remains the main concept, focusing on memory that becomes weaker with time, images turn faint and slowly vanish. A phase of further experimentation takes form in the two following projects showing an even more intimate vision of reality. On one side, in the series “Transitions”, exposed in a collateral event to the 55th Venice Biennial, the works are produced through a process that combines video and photography.
Short videos with multiple subjects, some still and some in movement, are projected and photographed with long exposures to permit the camera to catch all the images and the motion in a single photograph. This process creates an alchemy of forms and colors with a clear abstract nature. Space, time and movement melt forming completely new images open to multiple interpretations. On the other side, “The Black Series” is a purely photographic ongoing work that shows a world full of darkness where the subjects are the actual source of light. In these works places and objects emerge in an atmosphere suspended out of time. Aerial views are the main feature of this series. They are often turned upside down to give a sense of greater distance. Places become silent, methaphisical, almost belonging to an alien world.The next series of works,“Simultaneous Series” is created using “multiple exposure”.The idea explored in the series “Transitions” is repeated with a different approach. More subjects are photographed with multiexposed shots, often in movement, creating a single image directly from the camera. The alchemy of forms, colors and light creates the images almost beyond the control of the author. The chromatic inversion makes the images further independent from the reality to confirm once more the intention of representing an interior imaginary although built on the actual world.
The series “Study of relative motion” explore the relativity of subjects depending on the point of view. Only parts of the image that represent the focus of attention of the observer seem to remain still. As the rest is free to move around it almost unnoticed.