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The South, photographs Dominique Bollinger
John Szarkowski, ex-curator of the photography department in the M.O.M.A. of New York, years ago surprised the world of photography when he organized an exhibition entitled: "Mirrors and Windows - American Photography since 1960". What stopped the public attention was the simplicity of the definition with which he divided the photographers roughly in two categories: those for whom photography was a window and those for whom photography was a sort of mirror (sometimes the two distinctions overlapped in the same author). Well, I have no doubt that Szarkowski would have included Bollinger in the "Mirror" group even if he seems to open windows on the world outside.
A French living in Italy since many years, Bollinger is today one of the great representatives of the tradition of the art of "Light" in photography. His works speak eloquently the language of light, that universal language that can be appreciated in every country, every culture of the world. Dominique knows perfectly what previsualization means, that is, he already sees in the shooting act what the final print will look like. The formal rigour of his compositions - balanced subtly so that the vertical and horizontal linear directions shift invisibly in the curvilinear spatial directions - opens itself to an aerial space where everything seems to float. It happens that the earthly dimension, normally dominated by the gravity force, disappears in the melting pot of light, which creates a whole range of whites (and delicate greys aspiring to the whiteness).
Mastering light at this level is equivalent to mastering plastic values in painting. Controlling light values means, in photography, controlling the key to the exact translation of the author concept in the print. Every print made by Dominique, and released by him, must play that precise note, that energy vibration. Substance must be so pervasively penetrated by light so to become one thing with it. Shadows must be so opened up that the onlooker must feel them not as opposition but as different degrees of light itself. Well, in conclusion, if that subtle craftsmanship chord is not performed by his violin, the print instead of reaching a gallery wall ends up in the darkroom waste-paper basket. Prints collectors can feel secure about that.
Roberto Salbitani, Italian photographer
Correspondence course "Famous Photographers School" by Irving Penn, Richard Avedon etc..
2007 The South", Galerie Ducastel, Avignon, France
2005 "Dominique Bollinger, photographs", Fotosphere Gallery, New York, NY
2003 "Sicily and Rome", Galerie Benninger, Koln, Germany
2003 Galeria Carta Bianca Fine arts, Catania, Italy
2003 Galleria fotografica "Luigi Ghirri", Caltagirone, Italy
2002 Spazio Arte, sala Umberto, Rome, Italy
2000 Barry Singer Gallery, Petaluma, California, USA
1998 Alliance Franšaise, Bari, Italy
1997 Arte Roma expo 97, Rome, Italy
1995 French cultural center, Palermo, Italy
1986 Glenn Bell Gallery, Rhinebeck, New York
1982 Galerie Ethel, Paris, France
2007 "Summertime", Flo Peters Gallery, Hamburg, Germany
2007 Galerie Benninger, Koln, Germany
2006 "Prima Luce, photographs from Edward Weston to Mario Giacomelli", Padova, Italy
2006 The International Photography Gathering, Aleppo, Syria
2004 "Still-life", Candace Perich Gallery, Katonah, NY, USA
2003 Kamera und Fotomuseum, Leipzig, Germany
2003 Galerie in Focus, Koln, Germany
2002 Hugo Boss for the 30 years celebration of Zoom magazine, New York
1994 Galleria Aleph, Torino, Italy
1989 Palazzo Loggia, Brescia, Italy
1985 Soho Photo Gallery, New York
1985 Cleveland Center for Contemporary Art, Cleveland, USA
1984 Soho Photo Gallery, New York
1982 Centre Kodak, Prix de la critique photographique, Paris
The South (Sicily, Puglia, Corse and Sardaigne)
Rome and Surroundings
Color landscapes from France
Color landscapes from Usa and Mexico