Wanda Perrone Capano creative research involves both the inner and the exterior nature as figurative expressions in photography, (intensified by the instrument which becomes the artificial extension of her sensitivity). Each shot fixes moments of her own life and is filled with emotional contents which are transferred to the observer, a passage towards a subjective perspective which includes an entire world. The artist faces the female world according to a mostly psychological perspective, but inevitably social, too. By amplifying visual and emotional fragments, she quietly narrates through purely chromatic settings, portraits and inner worlds, an interior search made of loneliness, human relationships and shared experiences which contemplate a story in progress and where successes alternate with still moments. Three interlaced cycles, closely linked together, are displayed along the subtle thread of womanhood implying daily life. The title clearly reveals the diachronic aspect of the research: Yesterday was dramatic, today is ok and, together with the subtitles and the human expressions, even the landscapes and the represented objects become narrative elements. Instead, the most mysterious and obscure images, real visual caesura, seem to assume the shape of bugs, interruptions in the communicative flow, “a formative moment connected to knowledge and experience” which implies an overcoming moment, a full growth. By placing herself into the dimensions of both roles, as object and subject of each shot, Wanda Perrone Capano displays her own body in relationship to photography, enjoying “a privileged opportunity to spread throughout an imaginary world, a disillusioned testing of identity and (as Marra would clearly say) “ for a human being, to be means to change, to change means to grow up, to grow up means to create oneself indefinitely.
Dreams are for sleepers The first cycle of images whose tones are rather cold and are seen as fragments of a broken corporality, seems to express the need to be re-awakened by a dream-like sounding which reminds us of an experiential condition already accomplished but still overflowing. Nothing is just as before. Luckily The next passage seems to face a sort of re-adjustment after awakening, the awareness of one’s ability to change completely. The whole rhythm is mixed, frantic and expanding and the movements captured by the shots still seem uncontrolled, instinctual, almost animallike. The spaces are full of marks, passages and events of a distant past or ones which have just occurred Flatmates The last series concerns the sphere of human relationships, with other people, the opposite sex and with oneself. The interplay between multitude/loneliness implies an interchange between the represented individualities and imaginary observers. In this passage there is a greater smoothness in the composition of plans and in the most homogeneous atmospheres (while the continuous presence of the subject and other easily recognizable elements suggests the search for a way of constant presentation. The search seems to end with a major visual complexity made of compositional depths and accuracy, a result of a recovered joy, a sign of success (getting over). The renewed position of the human subject and its focusing show a pause in the emotional fluctuations at the iconic level, too; the protagonist plays with the lens (objective) as if she looks at herself in the mirror, exploring her own identity and the endless projections of herself. Cinzia Curini