--->"Yes, I have tricks in my pocket, I have things up my sleeve. But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion."<---
Pezzella’s work involves a vast amount of travel; from the places he visits, he includes fragments of children at play, posters and street signs, people in everyday situations, sculptures and architectural structures. A smaller part of his vocation involves photographing musicians.
Music photography presents quite a challenge to a photographer. There is no way of knowing the scenario before setting up the camera or other equipment. There are many unknowns to capturing an image while someone is moving, especially in a setting where light might be scarce. In music photography, live shots are crucial to showing the audience and musicians’ energy during the performance.
Gaetano Pezzella’s images of musicians are in a different kind of category—between the composition and framing, the photograph appears intimate and still, the same kind of stillness that one finds in the famous photographs by Lee Friedlander of John Coltrane playing his instrument, looking more like a spiritual ritual than a performance. Although the majority of Pezzella’s photographs are of jazz musicians, the style doesn’t change if he is photographing a musician of another genre. via
NEW-YORK BASED STREET PHOTOJOURNALISM, THIS DUDE NEVER FAILS TO IMPRESS. A REAL GENIUS WHEN IT COMES TO FRAMING SUBJECTS INTERACTING WITH THEIR SURROUNDINGS, ALWAYS KNOWS HOW TO PUT THE SHOT INTO CONTEXT.
Sanell Aggenbach(born 1975) is a South Africanartist living and working in Woodstock, Cape Town. Using painting, printmaking, and sculpture, her work addresses the relationship between history and private narratives, with a sense of ambiguity. Her work also explores the processes of nostalgia and historical myth-making, often incorporating the playful, disarming, and absurd to draw the viewer into discussions of darker subjects.
She has a unique style of combining traditional painting techniques with sculptural elements, as well as typically feminine crafts such as sewing and tapestry.
I am however ultimately intrigued by the impact of memory and social history. My intention is to create subtle paradoxes which suggest, rather than state, social commentaries and private narratives.