I never get tired of a blue sky. (Vincent van Gogh)
How many nuances are there in a monochromatic vision like the one that Pia Parolin proposes in her work? Endless!
After all , Wassily Kandinsky said: "Blue, represented musically, is similar to a flute; the dark blue resembles the cello and becoming darker and darker, the wonderful sounds of the double bass; In its deep and solemn form, the sound of blue is comparable to the low tones of the organ."
What Parolin offers us is therefore a chamber concert, a cheerful but not too much, with a maritime theme. Life, after all, on the Côte d'Azur - Parolin herself tells us - is colored with "bleuazur". People love the colors, the amazing blue sea, the deep blue sky. But there is a game between the obvious and the hidden. Behind the clearly visible blue there are dark shades. Like a filter they cover the paradisiacal beauty of the Riviera.
Parolin investigates this cavity, this thickness hidden between a dazzling blue and a deep blue and tells us how the Spleen is not a gray and stormy mood, but tinged with blue and apparently serene. Melancholy in full light is one of the most interesting aspects of this author's work. An oxymoronic and therefore profoundly poetic work.
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Quante sfumature ci sono in una visione monocromatica come quella che ci propone Pia Parolin nel suo lavoro? Infinite!
Del resto diceva Wassily Kandinsky: “L’azzurro, rappresentato musicalmente, è simile a un flauto; il blu scuro somiglia al violoncello e diventando sempre più cupo, ai suoni meravigliosi del contrabbasso; nella sua forma profonda e solenne il suono del blu è paragonabile al toni gravi dell’organo”.
Quello che ci propone la Parolin dunque è un concerto da camera, un allegro ma non troppo, a tema marinaro . La vita, del resto, in Costa Azzurra - ci racconta la stessa Parolin - è colorata di “bleuazur”. La gente ama i colori, il mare di un azzurro strepitoso, il cielo profondamente blu. Ma c'è un gioco tra l'ovvio e il nascosto. Dietro l'azzurro ben visibile ci sono sfumature scure. Come un filtro coprono la bellezza paradisiaca della riviera.
La Parolin indaga in questa intercapedine, in questo spessore nascosto tra un azzurro abbacinante e un blu profondo e ci racconta come lo Spleen non sia uno stato d’animo grigio e tempestoso, ma sfumato di blu e apparentemente sereno. La malinconia in piena luce è uno degli aspetti più interessanti del lavoro di questa autrice. Un lavoro ossimorico e per questo profondamente poetico.
Bio Pia Parolin
Pia Parolin is an Italian-German photographer and book author based in France. She was co-opted into the Deutsche Gesellschaft für Photographie (DGPh) in 2020, is a member of Optic Nerve Collective, Collectif Photon and coordinator of the Antibes Photo Club, France. In addition to articles and blogs, he shares his knowledge and thoughts in workshops and presentations.
She likes to reflect on photography, its meanings and its possibilities. His photos are exhibited all over the world. His photographic work focuses on the ephemeral moments of everyday life. He has a PhD in biology and in his documentary work he deals with the fusion of his two professions and passions: ecology and photography. Documenting environmental changes with scientific data and presenting them in emotionally charged photographs complement each other. The aim is to illuminate the fragile bond between man and nature and to stimulate thought.
