Home EdizioneEd. 0 Damnedly Erotic – Simone Angarano

Damnedly Erotic – Simone Angarano

by AdminAg

Written by Monica Camozzi

Entering Simone Angarano’s world is like overlooking Milton’s Paradise Lost. On a kind of marvelous damnation. The same one that Caravaggio substantiated with the profound contrast between light and darkness.

“I actually have a real passion for Caravaggio, he lit the antinomy that I try to recreate, the one between the darkness, the evil that surrounds us and the light that always comes from above.”

A light that “illuminates” the recurring prejudice about eroticism, about sensuality. That makes women shine.

In Angarano’s images, darkness becomes a metaphor for the stereotype that prejudices women against mischief, transgression. Here the erotic photo becomes a hymn to freedom and a spotlight shining on submission to a false morality.

Heaven or Hell: you just can’t fit in the middle?
I would say no (laughs), I am rather prone to extremes by nature. The eroticism I portray faithfully reflects my soul. I feel like a damned poet of photography, maybe because my father was really a poet, I use a different lexicon, visual. One can be provocative without falling mainel vulgar.

How long does it take to use light like that?
It depends, from a minute to 20 years. If you have a gift, it takes a minute. Otherwise it requires training, constant practice. I look at every picture as soon as I take it, if I don’t like it I change sets right away and come back to it after a while. Also because it may not be the right time for the model, there are so many variables involved. The perfect photo requires everything to be in the right place.

You can change the soul of even a pearl necklace, the ultimate sweetened symbol. What do you mean, precisely?
I mean that no matter how you try to deface it, a woman’s beauty comes out. Even behind a mask, an accessory I often use. Like a flower that breaks the rock. And pearls becoming a slipknot is an archetype of constraint masquerading as kindness. Beauty goes beyond all limits, even Einstein said so. Chains are obligations, and those who wear them handle them with dignity, never with a sense of fright. I remember using a rather strong image to represent violence against women, namely a gun pointed at her temple, expressing the strength of her eyes that actually communicates her indomitable being: “I will never bend, because inner beauty comes out anyway.”

Eroticism is strength, and very often it is expressed by the face. In my photos, the face is everything.  My woman is not languid; she faces life head-on.

Does the erotic photo require a setting?
Rarely is nudity, unabridged and an end in itself, erotic. When I photograph naked bodies, they are asexual, curled up, almost fetal. But it is with a stocking, with a collar, that the woman becomes erotic. The nude is purist, photographically it must have the geometric balance, the form of Greek sculptures.

How important is the model?
Immensely. I lean toward choosing models where physicality is strong, but it is not imperative. The communicative canon counts, the ability to be free, to provoke by feeling oneself. To deal with a type of photography with this impact one must be psychologically ready, empathy must be produced. As well as a necessary trust. The person photographed, to reproduce your world, must make it their own.  Eroticism is strength and is very often expressed by the face. In my photos, the face is everything.  My woman is not languid; she faces life head-on. There is never submission, not even in a leashed photo: to me she represents something that holds you, something that guides you, not crushes you.

What is the fine line between artistic and vulgar photos?
A line drawn by culture. An artist uses a medium, to communicate, in general his suffering, his personality, his worldview. Art does not admit ignorance. Art always represents the inner state of the artist.  Then if a person is scandalized by a bare breast, that is a cultural problem. Balance, in an erotic photo, is determined by taste. A factor you cannot convey: you can feed it, but you don’t graft it. I have known people who were technically perfect, but had horrible taste!

Is there something that all your photos have in common?
Yes, they are my fantasies looked at in the mirror. Often, at the height of a person sitting: the one I portray and me, on the other side, watching.

If your pictures were a movie?
I would say Limitless. They would be like the pill the protagonist takes, able to open a parallel world where the brain processes reality differently. A different field of vision…

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