007 is not just a secret agent

007 is not just a secret agent

The casual cataloging of a vintage photo with the numbering of n ° 007 prompted the imaginative association with the famous secret agent James Bond. The setting of the original photograph can be placed prior to the fifties and represents a room of a brothel. The iconographic subject present is the enhancement of the typical aesthetic beauty of the female body of the thirties, whose canon is anchored to the aesthetic principles subsequently evolved with the fluctuations of tastes developed in the years to come. The expressive objective planned and subsequently realized was to recompose the original composition with the opposite alternations with an apparent disorderly gathering of the details present. The so-called cycle was created with the applied operation of digital decollage. The fundamental expressive concept of decollage lies in opposition to the operability of collage; that is to remove rather than add. Basically it consists in subtracting from a heap everything that compromises the desired outcome. The final result outlines a new composition composed of further elements in the appearance of additional tiles. The iconography is articulated by different expressive values resulting from two opposing strictly consequential creative activities with an initial assembly of images in succession with the elimination of the superfluous or repetitive with the observation of the programming previously developed with a final goal. The operation of digital decollage makes use of superimposed images following a cataloging aimed at the previously programmed visual objective. It is superfluous to point out to avoid joining the overlap in a single image in order to subsequently intervene with the gradual elimination of the excess. Through a cataloging of the superimposed images it is possible to view the inserted content to continuously monitor the composition of multiple images. If necessary, you can add special effects or proceed with resizing or making appropriate changes. In the end, the residual tesserae build a new composition that summarily maintains structural elements that establish a visual relationship with the original subject.

Petrucci Pasquale