Home Edizioneed. 2 From Cape Canaveral to Herzigowa – Gabriele Rigon

From Cape Canaveral to Herzigowa – Gabriele Rigon

by AdminAg

Written by Artemide De Blanc

Anything is possible, they say. Indeed, listening to the naturalness with which Gabriele Rigon recounts his transition from war reportage to the backstage at Milano Moda Donna, the allegory of life and Forrest Gump’s box of chocolates comes to our mind: ‘you never know what you’re going to get’. Rigon’s photos are pervaded by a dreamlike glaze, they open a gap where time remains suspended. As if the anxious and agitated rhythm of reality cannot enter in there.

Yet Rigon was a military pilot. Action punctuated by tight rhythms has always been his daily routine. “I was born in my grandfather’s photographic studio in Gemona del Friuli, I have always had a camera in my hand. My passion for photography was born in Namibia, during a ONU mission: I felt the need to show others what I was seeing, I started with reportages’.

Lebanon, Afghanistan, the Balkans. 36 years of intense documentary activity.  Incidentally, for a certain part of his life his path crossed that of the Italian astronaut Paolo Nespoli, which took him to Baikonur, to Cape Canaveral, to launch sites around the world.

“When I came back to Italy from missions I got a bit bored, I was looking for diversions. And I started to try my hand at female portraits, with the first nude images’.

How did you get into fashion?
In the early 2000s, a dear friend started inviting me to Milan Fashion Week, I would literally sneak into the backstage with a colleague: I remember hours spent sketching iconic models like Eva Riccobono, Bianca Balti, Eva Herzigowa. So, slowly, I arrived at my first official job, in 2001, and built up a team of make-up artists and stylists.  I have always considered myself a photo amateur, because unlike a photographer I portray what I love and not what is imposed on me by others. And I have been able to see, being in contact with famous people who have taken this profession to the highest peaks, that never being happy with one’s result is a prerogative typical of the great. For example, of a legend like Giovanni Gastel.

What do you remember about Gastel?
His restlessness, that sense of incompleteness in front of a photo that appeared perfect to others: for him it never was. He was always pushing the bar higher and was never able to be completely satisfied with his work. After all, anyone who has achieved excellence in this profession started it out of pure passion, certainly not because of a diploma. And he has retained a certain amount of modesty, a real lever for improving himself every day.

Your women often seem like daguerreotypes, you clothe eroticism with a strong elegance. What do you want to communicate?
Being able to take portraits with a glamorous touch was a way of overcoming a deep shyness. Eventually it became a style. I brought my vision to what I believe to be one of Mother Nature’s most powerful gifts, the female nude. Over the years, beautiful relationships of friendship, of complicity were born. Some of my historical models are over 30 years old and I continue to shoot them, I have maintained a strong bond with about ten of them.

Contemplative, never allusive?
Eros is art. Pure contemplation. I have always tended to shoot in high keys to get a bright picture, to get pure beauty without the abyss of contrasts or excessive chiaroscuro. In this way, even the complexion is homogenous, almost patinated.

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