|Dates: ||1980 - |
RaphaŽl Dallaporta, a young documentary photographer, has in a short period of time garnered international acclaim for his thoughtful and engaging projects. He is concerned with public issues addressing human rights as well as more intimate and personal subjects such as the fragility of life. Through a studied balancing of images and text he broaches these topics in a subtle yet immediate and arresting manner.
In Dallaporta's Antipersonnel series, colorful and diversely shaped mines are seductively captured against a black background, removed from any context. The initial impression of these objects, which almost seem glamorous, belies their deadly function and is quickly dispelled as one reads the framed captions. Like entries in a manual, the practical features of each object are listed: dimension, weight, country of manufacture, method of detonation and description of the resulting explosion.
The Domestic Slavery project offers neutral views of the exteriors of non-descript buildings in and around Paris. On adjacent panels of equal size are written stories of what took place inside. The contrast between the image's detached view and the textual description of the suffering inflicted upon captive immigrants creates a tension that is disconcertingly engaging.
For his most recent work, Fragile, Dallaporta set up his studio in a forensic pathology lab. As autopsies were performed, he was immediately presented with body parts to photograph, which, like in Antipersonnel, he presents life size. The functions of these once life-sustaining organs, bones, and fluids are overlooked as their textures, shapes and vibrant colors captivate the viewer. The accompanying text, however, provides a reminder of the inescapable certainty of mortality.
Courtesy of L. Parker Stephenson Photographs, New York
(14 February 2012)
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