by Fabrizio Forti
By interpreting his work as "a compromise" between
the image in his mind and the external one of anonymity ,Belsole
seems to touch the two different aspects of photography ;the
instantaneousness of reality-the magical ‘'exposure' that the
whole of nature seems to bestow when one captures an istant-and
the unreal, almost onirical image it offers the moment the act ‘'emulsifies''.
When that happens, photography as a form of art belongs to
itself, it becomes an autonomous discipline allowing us to
read what the author read before us, it teaches us how to ‘'see'
beyond, impressing in our minds the captured of that existing
moment deliberately liberated from the ‘'theatricalisms of
the mise en scène'' ,exactly because it is the knowing
interpreter of that ‘'compromise ‘' the artist refers to.
The desire for anonymity is maintained also for those characters
projected ,or better, captured in that instant .
Faces concealed by urban objects, sometimes whith their backs
to the camera, hidden by hair, by a reflection or by the lack
of chiaroscuro contrast. Faces which seem to lack distinguishing
And anonymous are also those architectures, those ‘'….architectural
limitations, moral and intellectual ‘ barriers' as he defines
them , belonging to every place and at the same time to somewhere
else-from Rome to Paris, to Vienna, to New York ,to …-limits
which deepen the incommunicability and as such are without a
country, without a story and cannot be recognized.
A watchful ,sensitive eye rest on lesser ,unexpected details,
on things believed to be anonymous; on reflections, on transparencies
and superimpositions, and rescue them by making of them the main
characters of his still life. Every shot is a search for the
minimum to be apposed to the general ,for that element which
distracts and in a way questions the existence of the whole scene,
claiming its right to be there.
Belsole states that he looks for is the representation of a
moment which is not decisive, of an ‘'unevent ‘' ,and succeeds
in capturing it, maybe, just by refusing that ‘'exposure'' which
nature-also human nature-offers, as if his creative will made
him build his own scene as if it wasn't at all suggested by the
actual event, by something recognizable ,by something with a
story; it appears to be almost a desire not to accept any external
aid, or better, any pre-packaged suggestions ,as if to remind
us of a Morandian idea of the poetics of spirits according to
which history can only stand and watch.