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Marino Parisotto

Photography is not an image but a multi-sensorial perception

Written by Luca De Nardo

It is difficult not to be attracted by Marino Parisotto’s images, almost as if we were metal objects captured by a powerful magnet. It is no coincidence that I want to speak of images arising from mental projections rather than mere photographs.

Images projected and sprung from a mind impregnated with experience, knowledge, expertise, dynamism, movement, an obsolete perception of reality, contaminated by ideas, convictions, those of an artist, because to call him a photographer is like calling a diamond a simple stone.His images are the result of a complex and structured creative process. We are not faced with a simple ‘stopping reality’ with a photogram (which he called ‘banal’), but we witness a complex creative architecture between ‘devising‘, then ‘subtracting‘ and again ‘adding’ mental projections and visions.

As many have called him … ‘a crazy man’. After all, genius is not the prerogative of the many and often ‘the madman’ is that human being who is defined as such only because the many are unable to contain and interpret his unrepeatable genius.

Images and visions suspended in space and time, captured and constrained within a frame that we banally call a photogram, but which in reality is a becoming of instants, between a before, a while and an after, leaving it up to the viewer to decide how and when to stop the hand that determines the time of emotion.

Marino called it ‘Movement’: careful, not as we understand it.

Movement, for Parisotto, was not a simple beating of a butterfly’s wings (a mere physical act) but what a movement is capable of arousing in the beholder (and therefore capable of transcending the physical act and experimental reality; I would like to be able to call it cerebral movement ed.)

It is a pity to note (these are facts, not convictions born of corridor dissing, between pro and con factions) how Parisotto is unknown to many, perhaps I would hazard to add ‘to almost everyone’.

I would like to avoid my eternal polemic of how the art world (or whoever arrogates the right to control its dynamics) has confused the man with the artist and that, in their unquestionable judgement, they have decided that the former should overshadow the latter.

As a matter of fact, 

Marino Parisotto is an absolute master, considered among the top 10 photographers in the world.

I speak of Parisotto in the present tense, even though he has left us in 2022, because his images are there, present, imperishable, omnipresent blows in the eyes of those who are unable to see the multiple realities and truths that each of his images conceals, one inside the other, almost as if to retrace the absolute axiom professed by Michelangelo Antonioni in 1964 when referring to cinema:
“Beneath the revealed image there is another more faithful to reality, and under this one another, and again another under this one. Until the true image of that reality, absolute, mysterious, which no one will ever see. Or perhaps up to the decomposition of any image, of any reality’.

I have no way of asserting whether Marino ever made this axiom his own, swallowing the essence and bringing the meaning of Antonioni’s words into his creative process. However, a scene jumps to mind, where Marino, with his infinite smile, gives me a strong pat on the back and says… “De Nardo, you’re a damned man” and turning to leave, gives me a wink.

Moreover, Marino Parisotto would be no stranger to contamination. Trained in economics, educated in philosophy, a profound connoisseur of history, of art. Not just a photographer, but creative, creator, art director … Artist.

In love with beauty and its infinite variations and declinations.

A mind rich in contaminations but tumultuous, a free beater, a stormy soul but curious and rich, hungry for emotions and ideas to gather and give.

This is said by his images, many of which are forgotten by the absent-minded or unaware of his work, but which have invaded shop windows, magazines, billboards of streets all over the world, imprinting character, trends, anticipating languages and visual phrasing.

His images have indissolubly contaminated entire generations of photographers, imprinting photographic trends, playing with spaces and three-dimensional realities as if they were candies, creating instants that leave everything in suspense, almost as if they were a still image of a paused video … waiting for everything to come alive, to become, to transform, to take on different and evolved forms.

This is Marino Parisotto’s photography, a high act of compensation, through which he can express and fill that inner void that every man possesses (and artists in particular).

And it is no coincidence that Marino Parisotto said that a photographer’s images are nothing more than transparent water through which the soul of the man-artist emerges. It is a transpositive language, a transparent sheet through which to read the intimacy of that man, that emptiness to be filled with his own words made of images.

I always like to repeat that ‘we are our photography’, because what we represent is nothing but a transfiguration of our Ego. It is not we who represent our photograph… it is the photograph that reveals the artist. To understand Marino Parisotto even better, it is important to remember a concept that is not easy to encounter in other artists.

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For him, photography had to be eternal, epic, never banal, if you like, surreal.

And to achieve this, it is easy to see how Marino sought to make it so through the use of multisensory perception, thanks to which the spectator’s emotion was stimulated to the nth power, activating the process of cognitive and multisensory memorisation, making those same images … eternal and epic.

I would not like to add anything else, otherwise these few pages would take on a treatise tending to enclose Marino Parisotto’s art in a series of all-encompassing boxes of a genius that goes beyond the ordinary.

However, I will try to indicate a key with which to read Marino’s photography (images).

Abandon all your stereotypes, schools of thought, and cognitive imprints with which you are accustomed to interpreting a visual work.

Look at his images as if it were the first time you were looking at a photographic work. Look at the spaces, grasp the movement, read the image in a simple and elementary way.

You will see endless sequences of emotions, dynamism, visions as few other artists have done.

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