Valentina De Rosa
Valentina De Rosa was born in Naples in 1984. After studying painting she specialized in “Photography as language of art” at the Academy of Fine Arts in Naples. She exposed in some exhibitions including: Second Biennial of Young Photographers, Bibbiena; IX National Prize of the Arts, Academy of Fine Arts of Brera; X National Arts Award, Academy of Fine Arts of Bari; Fotoconfronti OFF 2015, Bibbiena; Mono no aware, Centro per la fotografia Vivian Maier, Campobasso; The Darkroom Project Exibition 5, Tevere art gallery of Roma; Smart up optima premio di arte contemporanea, Napoli; Art Prize 15.16, Arsenale, Venezia; VI ed. Expo arte contemporanea di Marche Centro d’Arte, San Bendetto del Tronto; Doni – Authors from Campania, Museo Madre, Napoli. Today she attended the studio of the photographer Antonio Biasiucci where she is engaged in deepening the search method personal photographic.
Valentina De Rosa
Valentina De Rosa teaches photography at school and pointed her eye at the margin of margins: Villa Monteturli, in Florence, is a structure dating back to the fifteenth century which accommodates thirty-six people, men and women between the ages of 14 and 60, heavily disabled, with either congenital or acquired encephalopathy, cause of motor, psychic, mental and sensory deficits. De Rosa started going to Monteturli in 2013. Her photographs deal with the psychological blow from her first meetings and the subsequent shockwave. The bright colours and the geometry soften the bodies and faces, the bare and repetitive setting, the central framing open up different perspectives on disabled life: a possibility, an uncontrollable variable of beauty and life, shaking up the ordinary features and perception of reality. Here we’re faced with the vital and transgressive energy of complete disability, perceiving the disarming quality of the protagonists and their trust, extreme and unaware in the release of an image. There’s no drama to report. The project eschews the traditional photo essay that in Italy includes such fundamental works as those of Luciano D’Alessandro, Berengo Gardin and Carla Cerata. De Rosa stands by people silently, shadowing the mildness of the guests, endowing them with enchanted looks. She transfigures them into talking faces, sculptures with powerful gestures, Prigioni freed from the shapeless rock, redeeming a tormented life measured by the rhythm of treatments and medicines, silences and tears. A triumph of life choosing you and of the eye that chooses life in all its fragility.