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May 30 - June 6, 2004 |
Looking Forward
P. Marco Veltri's photographs at Cornerstone reflect on past
By Jennifer Febbraro
Originally Published: 2004-05-23
P. Marco Veltri is the ultimate juggler. Sometimes it's a commercial that has piqued his interest or the promise that only a corporate assignment can provide and other times it's inspiration, guiding him along the singularity of his own obsessions with memory. In either case, when you talk to Veltri about his work, he cannot help but approach the process of image making philosophically.
This month at Cornerstone, a quaint showcase for oversized cabinets ala Shabby Chic, Veltri's Collected Works Exhibition is just that, a show representative of over seven years of photography, since his early days at Sheridan College, where he completed the Photography and Film Program. Instead of selecting the photos based on their "postcard-ishness," Veltri has chosen pictures as though scrapbooking them into his diary - the choice is nostalgic, meant to be a sign of times gone by, when he attempted camera maneuvres he would never think of trying now.
What Veltri's show amounts to is a personal journey of artistic evolution: Looking back, you can see what you were trying to attempt." A fine collection of 46 photographs brings together the best of Veltri's work, including work from his various trips back to his roots in San Giovanni in Fiore, Italy, where his parents are from. All in all, Veltri's portraits take one on a personal journey of self-reflection.
Photographs from his most recent series highlights the study of dance in all of its sensual glory -costumes swishing, bodies outstretched in a modern dance abstraction. This series, entitled New Form and Motion, is of dancers located out of context - on streetcars and in other public spaces where typically art is not meant to appear. Here Veltri photographically challenges the viewer - why should art be territorialized to remain in its designated location? He represents a populist shift in a movement of genre-bending devices, where the pushing of boundaries comes from the refusal to keep the image in its designated box. Reminiscent of films, Veltri's work often captures dancers in mid-motion, as a kind of nod to his affiliation behind the film camera.
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