EN D’Orta, who was already a photographer for passion, decided to enhance his artistic aptitudes. He attended advanced painting and photography courses at the University of Fine Arts in Rome and IED in Milan: his photographic technique transformed completely. The artist started to dedicate himself to a style, which tends to artistic abstraction and makes the importance of the colour to stand out in such a way that his photographs result to be similar to pictorial representation. The object of his photography are often architectonical details, preferably taken out of contest, or portraits, deformed by the reflections of the glass walls, such as the ones in the two series of Berlin: il Bianco, il Grigio, la Luce e Vibrazioni . Meanwhile, he reached a peculiar surrealistic inclination, which found its highest expression in Paesaggi Surreali : the characteristic technique of using mirrors to deform the image gives value to the movement. Then, D’Orta obtained attention for his shapes and geometric abstraction and in 2013 he started the series (Re)FineArt. In this latter one he portrayed large refineries and industrial complex, reassessed from an artistic point of view. D’Orta returns back to tridimensionality with the series (S)Composizioni. Between 2012 and 2015 he created the series Liquidance for the Accademia Nazionale di Danza. In 2015 he took part in Art Fair (Romberg Contemporary Art Gallery). In 2016 he took part in the MIA Photo Fair with Biocities II, Traslazioni e Vibrazioni curated by Italo Bergamini. In 2017 his exhibition Italian Vibrations was at the National Museum of Singapore, with the sponsorship of the Italian Institute of Culture in Singapore. His artworks are conserved in many public collections, such the Contemporary Art Museum of Palazzo Calicola, Collezione 2.0 (Spoleto) and the Italian Institute of Culture in New York. He took part in several national and international completion, such as the Sony World Phtography Award and he exhibited his artwork in many public galleries in Italy and Germany; his interviews were published in Artitude (2011), AdToday (2014) and InsideArt (2016). IT Già fotografo per passione, nel 2003 D’Orta decide di approfondire le proprie attitudini artistiche. Frequenta corsi avanzati di pittura e fotografia presso la University of Fine Arts di Roma e lo IED di Milano: la sua tecnica fotografica subisce una completa trasformazione. L’artista inizia a dedicarsi a uno stile che tende all’astrazione e risalta l’importanza del colore, rendendo lo scatto molto vicino alla rappresentazione pittorica. Oggetto della sua fotografia è spesso un particolare architettonico, preferibilmente decontestualizzato, o ritratti deformati dai riflessi delle vetrate, centrali nelle due serie Berlino: il Bianco, il Grigio, la Luce e Vibrazioni. Nel frattempo matura una particolare inclinazione surrealista che trova massima espressione in Paesaggi Surreali: il movimento viene valorizzato con la particolare tecnica di specchi che deformano l’immagine. D’Orta torna, poi, all’attenzione per le forme e l’astrazione geometrica e nel 2013 avvia la serie (Re)FineArt, in cui ritrae grandi raffinerie e complessi industriali, qui rivalutati in chiave artistica. Torna di nuovo alla tridimensionalità con la serie (S)Composizioni. Tra il 2012 e il 2015 nasce la serie Liquidance, realizzata per l’Accademia Nazionale di Danza. Nel 2015 partecipa ad Arte Fiera (Romberg Arte Contemporanea Gallery). Nel 2016 partecipa al MIA Photo Fair con la personale Biocities II, Traslazioni e Vibra- zioni - a cura di Italo Bergantini. Nel 2017 è al National Museum di Singapore con Ita- lian Vibrations, col patrocinio dell’Istituto Italiano di Cultura a Singapore. Le sue opere sono presenti in collezioni pubbliche come il Museo di Arte Contemporanea Palazzo Collicola, Collezione 2.0 (Spoleto) e l’istituto Italiano di Cultura a New York. Partecipa a numerosi premi nazionali e internazionali come il Sony World Photography Award, presenta le proprie opere in numerose gallerie pubbliche in Italia, Germania e a New York; sue interviste sono pubblicate su Artitude (2011), AdToday (2014), InsideArt (2016).
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