Analog Photography | Barbara Ghidini

CASA_le immagini che abito

2022 - CASA – The Images I Inhabit

Analog black and white photography, silver gelatin print

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CASA – The Images I Inhabit is an intimate journey through the inner landscapes of memory. Each image emerges like a fragment of dream — suspended between the familiar and the uncanny, between the body and the space that holds it.
Working with analog processes and the quiet tactility of black and white, I explore how domestic spaces become containers of time, where light, gesture, and texture recall both presence and absence.

The figures dissolve into their surroundings: bodies become furniture, fabrics, shadows. This act of merging reflects the slow sedimentation of identity — how our being is shaped by the places we once called home.
Through this visual archaeology of intimacy, I seek not nostalgia, but resonance — a way to inhabit memory as a living, breathing territory.

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puntos de metamorfosis

: La Separación

: El Viaje

más allá de la mente _ a través del juego

: El Espejo

: El Mar

: La Misión

mirando hacia adentro _ la danza familiar

: Danza Familiar

: Danza Familiar

: Danza Familiar

fuera del cuerpo _ ser la montaña

: Sentir La Montaña

: Sentir La Montaña

: Sentir La Montaña

: Sentir La Montaña

ángel mi guardián ilumíname

: Guardián Ilumíname

: Guardián Ilumíname

: Guardián Ilumíname

: Guardián Ilumíname

: Guardián Ilumíname

Redatto il 4 maggio 2022 da il_pelle | Nessun commento » | Condividi con Twitter
Tags: analog photography, art collectors, barbara ghidini, casa, contemporary art, espejos, fine art photography, fneart, intimity, mirrors, narrative, silver gelatin print, ventanas, windows

Checkers. What goes up?

2020-2021 – Checkers. What goes up?

Analog black and white photography, silver gelatin print and intervention in the digital scanner.

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The photo sequences are inspired by the cinematic sequences of the film ‘Le Sang d’un Poète’ and Jean Cocteau’s book ‘La Difficulté d’Être’.

FREE TO CHOOSE THE FACES, SHAPES, GESTURES, TONES, ACTIONS AND PLACES THAT YOU LIKE, YOU CAN USE THEM TO COMPOSE A REALISTIC DOCUMENTARY OF UNREAL EVENTS. – from ‘Le Sang d’un Poète’.

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CHECKERS

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PARTE I – EL CUERPO Y LA MENTE

“SUCEDE Y PUEDE PASAR DESAPERCIBIDO”

: Playing with a New Vision

: New Eyes

: Into the Body

: Fictions of Power

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PARTE II – ILUMINAR UN PENSAMIENTO

“VIVO UN PRESENTE QUE ME PERTENECE”

: Desire Escape

: Desire Escape 2222

: Desire Escape 222

: Desire Escape 22

: Desire Escape 22

: Desire Escape 22

: Desire Escape 22

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PARTE III – PROFUNDIDAD DE VISIÓN

“LA MUJER DUERME. SE HA SALIDO CON LA SUYA. YA NO DEBE MENTIR”

: Playing with Light and Shadow

: Playing with Light and Shadow

: Playing with Light and Shadow

: Playing with Light and Shadow

: Playing with Light and Shadow

: Playing with Light and Shadow

: Playing with Light and Shadow

: Playing with Light and Shadow

: Playing with Light and Shadow

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In the series ‘Checkers. What goes up?’ private and external events converge on the surface of the image itself through a play of illusions and transparencies to tell the story of the escape from the limiting reality in which we are imprisoned and confined every day.

Checkers is a metaphor for our lives and, by their very nature, the pawns in checkers, humans, are forced to move within certain limits according to pre-established rules, often imposed or self-imposed.

In the story, photography is not only the medium that creates a perceived reality but, through its material physicality, that is, the analogue black and white photogram, it becomes the tangible tool that helps us to cross the boundaries of the queen, creating an ideal gateway to a new world and a new consciousness of being.

Broadening our gaze and expanding our knowledge to investigate our role in the world and seek our true identity as human beings.

Redatto il 24 giugno 2020 da il_pelle | Nessun commento » | Condividi con Twitter
Tags: 35mm, analog photography, art collectors, barbara ghidini, Barcelona, black&whitefilmprocessing, conceptual, contemporary art, Cortometraje fotografico, desire, escape, fine art photography, mental images, motion, scan, unconscious, visual, windows

Grafía Obscura

2020 – Grafía Obscura

Analog photograph, silver gelatin print made with a pinhole camera through the fotofinish technique.

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Grafia Obscura is a visual and temporal exploration of the self through the fotofinish technique, reimagined from Paolo Gioli’s experiments.

Each image becomes a trace of motion and dissolution, where light writes and erases the body in the same gesture.

The work reflects on perception and transformation — a poetic act in which the image is no longer representation, but pure process, an unstable handwriting of existence.

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: Plate I

: Plate II

: Plate III

: Plate IV

: Plate V

: Plate VI

: Plate VII

: Plate VIII

: Plate IX

: Plate X

: Plate XI

: Plate XII

: Plate XIII

: Plate XIV

Redatto il 1 giugno 2020 da il_pelle | Nessun commento » | Condividi con Twitter
Tags: analog photography, art collectors, barbara ghidini, cinecamera, contemporary art, Experimental Photography, experiments, fine art photography, fotofinish, frame, inside, memories, motion, obscure, paolo gioli, pinhole, Self-portrait

Self-Portraits _ Metamorphosis of the Negatives

2019. Self-Portraits _ Metamorphosis of the Negatives

Analog photomontage, silver salt gelatin. Taken with my camera minutera.

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: Self-Portraits

: Self-Portraits

: Self-Portraits

: Self-Portraits

: Self-Portraits

: Self-Portraits

: Self-Portraits

: Self-Portraits

: Self-Portraits

: Self-Portraits

: Self-Portraits

: Self-Portraits

: Self-Portraits

: Self-Portraits

: Self-Portraits

: Self-Portraits

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“In that stillness, I wanted to involve my whole body and let myself be carried away by some movement.
The encounter with the other, I recognise their fragmentation and make it my own.”

‘Self-Portraits, Metamorphosis of the Negatives’ is a project that was born during a post-accident recovery and brings together chemical explorations carried out inside my camera minutera using some negatives of people I have photographed over the years.

It all begins by choosing a negative from the box in which they are stored, reproducing the positive and then letting things happen. Between the passages from negative to positive, I intervene with double exposure, the infiltration of light inside the camera, the deposition of silver on photographic paper, the superimposition of objects, etc.

The works I propose are based on a balance between realism and its deconstruction to reveal the darker side of life by exploring emotions such as sadness, melancholy, loss, pain, and loneliness.
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