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Le potenti storie della fotografia e dell’arte contemporanea scelte per te da {name}

Elena Vaninetti

This print was made as an example for the production of a book by Francesca Woodman. It is a unique item (1/1) and is in excellent condition.

courtesy of George and Betty Woodman

The body moves, vibrates, struggles, she places mirrors and unusual accessories, a flower, a snake, a peeling paint, an old torn wallpaper, a beast skin and spots of light that all enter the space clandestinely. Elements that for her are recurring motifs in her creative research, which metamorphose her into insolent, confusing images of rare intensity evoking the ephemeral, the transience of time. The stagings that she develops inside stripped rooms, in the middle of decrepit spaces, houses about to be demolished, go beyond the strict genre of self-portrait.

“I feel like I'm floating in the plasma. I need a teacher or a lover. I need someone who takes the risk of being with me. Francesca Woodman


She has a particular, strange, dreamlike, subjective universe, w The body moves, vibrates, struggles, she places mirrors and unusual accessories, a flower, a snake, a peeling paint, an old torn wallpaper, a beast skin and spots of light that all enter the space clandestinely. Elements that for her are recurring motifs in her creative research, which metamorphose her into insolent, confusing images of rare intensity evoking the ephemeral, the transience of time. The stagings that she develops inside stripped rooms, in the middle of decrepit spaces, houses about to be demolished, go beyond the strict genre of self-portrait.

“I feel like I'm floating in the plasma. I need a teacher or a lover. I need someone who takes the risk of being with me. Francesca Woodman hich she knows how to transcribe in her photographs, as in so many mirrors, images that she always conceives in advance by preparatory sketches, being able to spontaneously follow her emotions, she knows how to dramatise her inner conflicts, her deep torments.

She uses her body to dialogue with herself by projecting images and symbols, hopes and fears that translate the fact of being a woman. She dresses her flesh and seems to disappear into the afterlife, always being worried about her existence, she always poses in settings, rooms with dilapidated floors and walls, making here one of her new self-portraits out of the ordinary.

In her photographs, her face sometimes disappears, she hides him, mistreats him, agitates him in empty spaces, abandoned, often naked, his body is stripped of all artifice, abandoned, in response to the dilapidated and marked walls that form the scene in his compositions, in which his face, his sex, his identity are erased.  

From 1975, in Providence, she joined one of the main artistic institutes in the United States, where she intensively pursued the study of photography, at the "Rhode Island School of Design", immediately she started to photograph herself like this cliché among many others, which makes her an essential reference in the photographic treatment of the self-portrait. Her Leitmotiv is to explore her own image with imagination, which leads her to reflections on photographic technique and writing.

Then she spent a year in Rome from 1977 to 1978, where she made many photographic series that she undertook to carry out in abandoned places, series that she titled "On being an angel", and "l'anguille".

Fotolitografia - Agenzia di stampa/timbro del giornale - 1

Francesca WOODMAN - Providence 1976

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Francesca WOODMAN - Providence 1976

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