Florindo Rilli -Photographic Artist
In another, the dancer's body wraps into the shape of a large
tractor tire. She poses in front of machines and lies along scaffolding. She
is crouched between pebbles of tiny rock that climb to the sky behind
her. The three dialogues
are all intact and all visually apparent.
Sometimes, Rilli's subject remains nameless and often faceless.
"Too often," says Rilli, "the face of the subject will distract
the viewer and communicate the wrong message. By
being anonymous, it leaves much more space for the imagination."
One face he doesn't leave anonymous is his own. Throughout
his career, Rilli has mastered the self-portrait. Whenever
he sees the opportunity arise, in the glass of an airplane terminal or
the display windows of a store, Rilli looks for the moment when his image
can be creatively reflected back into his lens.
 "As
you see," laughs Rilli, pointing to his collection of self-portraits, "I
am always wearing similar things." Although
always in denim pants and a simple buttoned- up shirt, Rilli's self-portraits
never capture him in the same form, light or context. Each
is inherently different.
That is why in his most recent exhibit, Rilli shies away from
the norm. This month, Rilli,
along with fellow artists Pasqua and Grappasogni, created an exhibition
entitled Per Grazia Recevuta translated
as "For Graces Received." The
exhibit was creatively abbreviated to P.G.R. with each initial representing
one of the artists.
In this show, Rilli photographs metal plaques that are placed
by patrons in Italian churches. Each
plaque has inscribed Grazia Maria or
simply P.G.R. posted within
the walls of the church to thank the Madonna for her withstanding grace
in their lives.
From moving bodies to hidden self-portraits, to symbols of
spirit, Rilli captures a piece of Italy that
others do not take the time to see.
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