Sabrina Gaudio

sabrina-gaudio
Sabrina Gaudio

Industrial and urban landscapes

by Sabrina Gaudio (The Netherlands)

I was born in 1982 in Roosendaal, The Netherlands. I started practicing photography as a persistent youngster, when I got introduced in the surreal world of photographers as Ed van der Elsken, Henri Cartier-Bresson and Robert Capa. Inspired by these grandmasters, I recorded many friends on film, thanks to my analog, almost antique Minolta camera.


Portfolio from the Paysages industriels workshop with Mark Power, April 2012.

Written review by

MARTINE RAVACHE
Picture editor, France 
Why is it good ? Straight on, I am assured that you do have a photographic eye. You see what has to be seen, without any problem. You even perfectly know the capacity of seduction of a photographic image. You perfectly master light and colors that you use with refinement. You even do a colorist work if we consider all the subtleties and nuances that you deploy. You process landscape exactly as you would do with a portrait, which gives an interesting approach, a bit cold but precise. For all those comments, your work as a very contemporary quality to it, where technique and concept seem perfectly over control (too much maybe?).

Why is it less good? Repetitive frameworks, systematic close ups don't make out a language because things are less simple than that. The series you show may give an impression of quickly-reached limits. Does La Defense resume to a set of details? Difficult idea to communicate about a place that is before all a space, but let's admit that this accumulation of details is a real point of view. First pitfall, it can be perceived as a facility, avoiding the real questions raised by the gigantism of the site. Second pitfall, it can create a confinement sensation. Confinement that touches equally the photographer and the viewer.

The ultimate risk (but is it a risk?) touches the decorative part. To be honest, you manage very well in this kind of decorative approach mixing in a interesting way shapes and volumes, the ordinary and the abstract.

It is one or the other: either you continue in this professional decorative field (I am picking this word in the good sense of it) that you perfectly control and you take the risk to "succeed" with facility or you take more risk, you are not afraid of making mistakes and you dare leave a field that is a bit scholar, you assume your mistakes that you'll probably find helpful one day but not straight on…it is closely like a choice of life. In both cases, you have the talent maybe equal to the challenge.


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