Laura Rodari

Self-taught, her photography gravitates around more experimental practices. She works mainly with analogue processes and positives her own negatives. Her work includes other media such as video, digital photography and Polaroid instant material. Since 2015 she is part of the photographic art collective AM Projects together with Oliver Pin-Fat, Tian Doan na Champassak, Olivier Pin-Fat, Hiroshi Takizawa, Thomas Vandenberghe and Daisuke Yokota.

 

Laura Rodari proposes an aggressive and wild practice that departs from the traditional canons and standards of photographic printing. In her approach to the materiality of photography, to the image-object of emulsified paper, her photographs seem to have been cut with a knife, mistreated and damaged during the process of creation or directly recovered from the wastepaper basket of the laboratory. An extreme experimentation that does not underestimate the humility of error, the use of out-of-date sensitive material or the recycling of collage. Small, shy and minimal photographs, broken and fragmented, shown on cardboard or old folders.

 

His creative process helps us to reflect on the materialisation and dematerialisation of images, on the frontier between the visual and the intangible. On the persistence of the latent image beyond the revealed and solid image.

 

According to the author herself, her work Malia came about after a disturbing nightmare. The Italian word Malia means spell but with negative connotations and dark implications. Malia'can also be described as the uncanny ability to achieve unusual and disconcerting effects often in an unobtrusive and subtle way, which makes it all the more deceptive.

Writing the shadow of these ghosts in the darkroom of the laboratory is the core and crucible of her photographs.