A film that unravels itself in front of our eyes: it is not only visual evidence, not only a story, not only play of light and dark, not only a woven intricacy of plot and subplot, in their multitude of levels. It is much more than scenes, instances, notes, and etchings.
The photography of Ilvio Gallo is a feeling and a discipline. Feeling with the art of communicating through people and images. Discipline of the eye, and of the emotions, the alchemy of time and visions. More than actions and dialogues, its domain is of meetings with extraordinary persons and places, of emotional impact, the dialectic between systems of harmony and dissonance, of senses and rhythms. Photography, cinematography, video and digital art are the avenues by which its collage of precisions moves to investigate reality, discover new registers, create other languages without ever letting itself obstruct its
energy by means of pseudo-artistic necessities.
Its manuscript has more layers than literature, scripted purposefully to elaborate a sensory communication, finds allies in popular music, design, and fashion, though none of these is exclusive, or more or less definitive than the others. Because to orient oneself, one needs to explore the future continuously. Don’t abandon the path, as it is impervious of the search to push forward, to find and find again the self. Ilvio Gallo, who has left his mark through book photography, photo, video clips and video exhibits, and numerous projects for major design firms, international houses of couture, musicians, moguls of style and design, has neither antiquated theories to follow nor asphyxiating limitations to imprison himself within.
He has only the desire to record segments of life. Simply. And, of course, with a mark completely his own.