The characteristic elements of the Fabbri iconography become scenic objects here, through a process of decomposition and simplification of forms, which acquire volume and a three-dimensional nature. A ballerina is the protagonist of the piece, impersonating the sinuosity and sensory explosion of the Amarena Fabbri. Narrative photography, from the true fiction of Gregory Crewdson to Jeff Wall’s compositions involving light and atmosphere, is the focal point of the artist’s research.
Vincenza’s staged photography is a complex and methodical process. She starts by imagining a scene, and a story that can be interpreted in a series of photographs. She thinks about how to construct the composition, she studies the light, and then chooses the figures and their clothes. Her photographs look like stills from a film, and seem to form part of a much bigger story, although they can also be viewed on their own because the traces of the narrative provide cues, enabling the observer to construct their own story. For this piece, the artist designed a distinct and complex set. It includes part of the pattern of the Fabbri jar, which represents the brand itself in the collective imagination.
Her Mise-en-scène is a formal operation of deconstruction and recontextualisation of the graphic elements of the jar. She breaks up the blue patterns into geometric forms, within a geometric white space. A ballerina dressed in red plays the role of the Amarena Fabbri. It is a metaphorical lure, in which the art of dance represents another art, the confectionery art of Fabbri. Is this staged set a real or constructed space? It’s up to the viewer to decide.