Veronica Morresi
Veronica Morresi’s artistic research overcomes the concept of photography as mere registration of the visible, in order to explore the expressive potentiality of the photography medium as a means of subjective inquiry. It is not a figurative representation, nor a documentarist vision, or the romantic representation of a landscape, or the study of a portrait fed by pathos and melancholy. Her research is, fundamentally, introspective, as it becomes inquiry of herself, a means to explore her own state of mind and intimate subjectivity – a perfect communion between theory and practice, concept and theory. Veronica Morresi crystalises that indefinite, unspeakable moment, communicating the idea of an ever-evolving moment, suggesting the idea of a relative time. The camera, known for its ability to freeze the moment, here gives us back something immaterial, which goes beyond the normal spatial-temporal perception.
Hence, the technical experimentation combines with something more personal which, through the shot, becomes common and shareable, while the attention to the timing of the self-timer, together with the conceptuality and the study of the movement, give birth to works of refined expression, fed by a non-verbal communication of strong emotional impact, where the de-composition of the shape becomes symbolic expression of interior scenarios, exploration of her own thoughts, of her own way of being and thinking. What Morresi transmits is the idea of ever-becoming, of something that we can’t capture as it’s ever-evolving, and never reaches a concrete conclusion. These are photos full of dynamicity and sentiment, whom ephemeral, poetic and evanescent character often counter bare, extremely material and essential places. Aseptic spaces act as background, focusing the attention on the subject, and accentuating its evanescence with their ability to express a suspended condition and the immaterial nature of an impersonal place.
Moments and contexts so distant among themselves acquire, under the careful eye of the artist, the taste of unedited realities, which go beyond the mere subjective tale, revealing infinite possible stories. The stillness of the scene is blatantly in contrast with the fluidity of the image, which little by little tends to disappear, becoming lyrical element, whose fragility is reinforced by the skillful use of the light. Images made of a time that knows no time, that are not looking for answers and/or solutions, but offer channels of reflection and the idea of immateriality, of which the human soul is ultimately made of. Often the topics undertaken by Veronica are explicit, for example in the case of the production linked with the topic of the pandemic or gender-based violence, whereas other times they are an extremely personal inquiry that brings her to become protagonist of her own work. In any case, her visual universe is based on an intimate analysis which doesn’t want to be self-referential, but collective and universal, an impalpable representation of the Self, manifestation of the ineffability of the spirit.
Monica Ferrarini
