Putti
Putto began three years ago when I assembled an archive of master drawings and sculptures depicting these childhood sprites, many of which would later become subjects in my photographs. I became transfixed by the duality of the putto’s absolute ubiquity throughout art history yet its absent representation today . From the cradle to the grade, the putto has kept guard over mankind. He stands and mourns beside the bier, bedecks the tomb with garlands, or proclaims the glories of the dead. The putto has played their biggest role in the decoration of churches, they flutter onto the altars and tabernacles and look down from some high ledge, laughing into the abyss with no thought of danger. The putto is art’s authentic goblin, summoned into existence by the artist, reflecting valuable representational insights to be viewed.
I believe the putto as muse is not a relic of our past. It is not garish, overly sentimental, or esoteric. It’s unique representations of the human form deserves to be mined with a present lens. With my large-format camera I am creating images with a sincerity and contemporaneity that I believe the Putto warrants.
I believe the putto as muse is not a relic of our past. It is not garish, overly sentimental, or esoteric. It’s unique representations of the human form deserves to be mined with a present lens. With my large-format camera I am creating images with a sincerity and contemporaneity that I believe the Putto warrants.