For Roversi, the studio is “like an empty stage, an area ready to be crammed, a time but to be invented, the place neither seasons, nor days, nor hours exist.” He’s clearly caught up within the romance of pictures, from the shock and discovery of its childhood to probably the most difficult experiments of his fellow-artists, and his work has a terrific sense each of the second and the times, years, and many years that led as much as it. He pushes the Polaroid course of to make the images that he can solely think about till they explode into life in his darkroom. “Each step ahead, each evolution of my work, was the results of an accident,” Roversi informed Lécallier. Cameron, Blumenfeld, and Penn are hovering close by, kibbitzing, gossiping, questioning the way it will all come out. Nothing is definite, which makes the creation of a terrific {photograph} all of the extra extraordinary.
Audrey Marnay for Comme des Garçons, Spring-Summer time 1997, Paris, 1996.
These pictures are drawn from “Paolo Roversi.”
