“While exploring places, I’m building another dimension, a personal imagery….”
Born in 1983, Renato D’Agostin is no mere street photographer or humble documenter of cities. Whether he’s exploring Venice, Paris, Los Angeles or Istanbul, capturing the elemental power of Niagara Falls or an acrobatic airshow in rural Italy, his work is all about forging a unique connection with his subject.
Technique – namely a manipulation of what he sees – is intrinsic to how peels back the layers of places. By excluding elements from the frame, looking for points of intersection or contradiction, D’Agostin dislocates his subjects from their realities. Using a long lens camera, he strives to depict his perception of the world around him – and to open up new portals in the spectator’s imagination. “I believe that the subject grows inside the photographer,” he explained to Alessandro Simonetti in a 2017 interview. “Then elements from reality get distilled in order to express it.”
Equally key to his art is film and the darkroom. Using the medium of film gives him the sense that he’s photographing what he feels rather than what he sees. And the darkroom is where all the elements that will make the final print coalesce. “That’s when you dictate your word into the work,” he told Gup magazine in June 2018. “It creates that connection, it elevates that silence that I look for in photography.”
Featuring images from recent series, Metropolis reveals how technique and a devotion to film photography allows D’Agostin, who once served as an assistant to the great American photographer Ralph Gibson, to decontextualise his subjects – typically, but not exclusively, dynamic cities. Above all, it shows an artist at the height of his creative powers, whose eye for texture and composition consistently awes and surprises.
Renato D’Agostin - Metropolis
- 2018.11.09 - 2018.12.10
Leica Gallery Bangkok
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