The true story of Paolo Gasparini offers a tight compendium of the deepest social and aesthetic concerns of an Italian photographer with life divided between Caracas, Trieste, Havana and Mexico City. The history of his images, the dialogue between the past and the present, with the life of the cities and their “leaning”, appears in a book taken by the game of photomontage. This experience of Gasparini (1934), published by La Cueva, a Venezuelan publishing house specializing in photobooks, is accompanied by the critical eye of Juan Antonio Molina and the design of Ricardo Báez. Photomontage also refers to the Italian fotoracontti, so related to Gasparini, which is the wise combination of photography and story in terms of reconstructing the traces of his own world and each of his times.
An autobiographical work, the chronicle of the ideological defeats on reality, the voice of the margins in Latin America that expresses itself with its own vitality, in its natural settings, laughing, without raising its voice, without militant poses, or epic tales. Below the above, there is something more discreet in this personal story of the National Photography Prize (1993): the passion to look at bodies and their colors, with all their persuasive power, from a long succession of cropped and even off-center photographs.
From this very personal statement speaks the photographer who cuts fragments of the world to integrate them to his most personal concerns, governed by passion and the drive of return, the trip back revived.