The photo as autoanalysis

The impact with the images of Annalisa Ceolin is one of those destined to leave the sign. The job of the Ceolin is fit for a multiplicity of readings because it develops through metaphors, symbols, archetypes, even if at times of not immediate recognition, that involve the whole female universe. For Annalisa Ceolin the camera is a tool of autoanalysis that traces and it clarifies at all a personal vital run. Thanks to it, the photo establishes a relationship with her own unconscious. The contemporary art is fundamentally a personal search of new languages as autonomous and diversified expressive forms (expressionist, cubistic, surrealist, abstract, informal, conceptual, etc.) in which of the medium Photo comes more and more often proposed a purely cerebral employment, with little attention for the form. We like then the use of the photo that the Ceolin does that expresses her messages with exuberant images in the color, and rich of materiality. Violent tonalities with preference for the red that seem to stream blood, or for the blacks that express anguish, with episodes in the more yellows solariums and in the violet one, in a symbology of the colour that is able to also assume therapeutic characteristics and of catharsis. “ Almost Cruel “ is only one stage in the artistic run of the Ceolin that’s also developed in the last fifteen years, and above all, thanks to the black and white that the author stamps by herself with good results.

Impossible to explain all the references, the allusions and symbols present in the photos. They are images those of the Ceolin full of ambiguity' that really for this attract or reject for their external strength that’s also, perhaps, an implicit confession of brittleness.'

Vincent Mirisola

(Founder of “People of Photo”)

Annalisa Ceolin introduces a job that herself defines "strongly autobiographic": a search on her own identity' and on the meaning of the femininity. Inevitable to think, looking at the images, to distant and cultured Renaissance references, even if we are brought back immediately to today by the definite cuts, at times brave and from the precision in the description of the detail, of the subject that becomes essential element for the reading, like the colour.

The light, that "beautiful light" that the true photographers know how to find, writes on the emulsion hands, fabrics, objects, gestures strongly loaded by the female sensitive ability of whom wants to transmit to us emotions, and she succeeds.

Guido Cecere

(Teacher of Photo in the Academy of Belle Arti of Venice)

In 1995, in Savignano on the Rubicone, on the occasion of the fourth edition of the Portfolio in Plaza, to Annalisa Ceolin was given an award for her images.

The Ceolin has introduced a sequence of stupendous color images. A portfolio with vibrating contents of projects i, a magnificent thematic structuring regarding the search on the woman, her problems, her emotions, her restlessness, her universe. .

A modern photographic style, aggressive, characterized by a strong dimension of a photographic composition, peremptory, in certain cases more audacious, in others less, and from chromatic search full of vitality', of expressive strength of iconic power. Refined styles and formalisms, well fused among them: important conditions for the definition of messages and objectives of a rigorous photographic language, modern, of quality, with a peculiarity, a defined personality, emphasized in that “quid” emerged last September, in Romagna, on the shores of the historical Rubicone.

Fortunato Raschiatore

(Critical photographic)

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