Polvere
by Aurore Dal Mas

Aurore Dal Mas’ Polvere series explores a part of
the world in which we live: more and more abusive, degenerated, decadent and vain. Polvere evokes something that darkens, that collapses, rugged and ravaged from the inside. The work feels like black dust, sticky, toxic and yet eminently attractive by the softness of the pigments on the paper. “nessuno come noi” («no one like us») says  a picture. Or “we’re better than that”. Only an ounce of hope perhaps, only a reminder in the night, a call in that reminds us that a human being is made to stand straight, to be whole, to take his place – but neither more nor less.

Polvere takes its name from its charcoal-like, very dark, bit blurry surface. It is a mix of people and places that creates a kind of série noire. The darkness is calling for slowness. No explanation of the situations, no narrative, always hidden faces, there is no otherness to bare but bodies, that are often naked. The pictures are like burned monochromes, a troubled souvenir. Subjects are imploding, like rotten fruits in a desolated world, inverted into themselves. There’s the idea that a catastrophe is rapidly approaching.

Polvere
by Aurore Dal Mas

Aurore Dal Mas’ Polvere series explores a part of
the world in which we live: more and more abusive, degenerated, decadent and vain. Polvere evokes something that darkens, that collapses, rugged and ravaged from the inside. The work feels like black dust, sticky, toxic and yet eminently attractive by the softness of the pigments on the paper. “nessuno come noi” («no one like us») says  a picture. Or “we’re better than that”. Only an ounce of hope perhaps, only a reminder in the night, a call in that reminds us that a human being is made to stand straight, to be whole, to take his place – but neither more nor less.

Polvere takes its name from its charcoal-like, very dark, bit blurry surface. It is a mix of people and places that creates a kind of série noire. The darkness is calling for slowness. No explanation of the situations, no narrative, always hidden faces, there is no otherness to bare but bodies, that are often naked. The pictures are like burned monochromes, a troubled souvenir. Subjects are imploding, like rotten fruits in a desolated world, inverted into themselves. There’s the idea that a catastrophe is rapidly approaching.

Aurore Dal Mas obtained a Master in Photography from La Cambre (Brussels, Belgium) in 2005. Her work takes as its focus movement that can not be expressed in words, natural forces, desire, danger, relationships and self- portraits. Ever since she started, Aurore Dal Mas has been developing and diversifying her photographic practice and is now combining it with writing and installation. She showed her recent work, inspired by readings, movies, painting as well as work on her voice, at the Museum of Photography of Charleroi (Be), Festival Circulation(s) in Paris, 44 Gallery in Bruges (Be), WaterTowerArtFest in Sofia (BG) and in various cultural centers in Belgium.

auroredalmas.com