The Future is Leaving by Guido Argentini

Presentation

Edition of 9, 6, and 1

Size

30 x 60, 40 x 80, 50 x 100 Inches

Medium

Digital c print photograph on paper

Signed

Yes

Genre

Fashion

Description

The Future is Leaving by Guido Argentini

The Eros Diptych collection by Guido Argentini presents a new body of works presenting two separate photos printed on one sheet of paper. The two contrasting images in each photograph set up a story for the viewer to interpret. These works are from his latest book Eros, being released in April 2019, which continues in his exploration of boldness in photography, and presents a new concept of contrasting works telling a shared story. Argentini plays with bold color and varying subject matters including women, still life’s, and landscapes in this series. The combination of two completely different scenes that flow into one allows for a narrative to speak through his works.

 

Guido Argentini was born in Florence, Italy. He studied Medicine for three years at the university of Florence. At 23 he decided to turn his passion for photography into a profession and started to shoot fashion and beauty. Since 1990 he lives in the USA, in Los Angeles . His work has been published by some of the leading magazines in the world such as “MarieClaire”, “Men’s Health”,”Playboy”,”Vogue”,”Max”, “Maxim” and many others.

 

In 2003, Guido Argentini’s first book, “SILVEREYE”, presented an exquisite series of studio and landscape nudes. That work was a reflection of the artist’s great personal passion for sculpture and dance.

In his second book, “PRIVATE ROOMS”, 2005, Guido Argentini offers an entirely different type of personal journey, one where eroticism and beauty are clearly inseparable. Within these pages, we are invited to take a glimpse into a unique ‘feminine universe’. This second book is the result of ten years of photographs, all taken in the intimacy of closed rooms, ancient villas, modern apartments, many hotels, from the most elegant five-star locations enriched with luxurious velvets and four-posted beds to the most squalid insignificant hourly-rate motels furnished with cheap plastic chairs and worn-out wallpaper. A universe where all these rooms become the theaters of the artist’s self-directed voyeuristic fantasies.

“REFLECTIONS” was published in 2007, a vast collection of photographs of women looking at themselves in mirrors: a sort of unconscious research about the woman who studies herself, falls in love, and gets lost in her own image.

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