Nulla è puro brings together some ten years of research by Venetian photographer Lorenzo Vitturi (1980) in a precipitate of the three major projects of this alchemist artist: Dalston Anatomy, Money Must Be Made and his most recent Caminantes.
From one to the other, it is a question of circulation: of cultures, bodies, forms and their fertile hybridization. Embracing, as he puts it, a kind of “plastic libertinism,” Lorenzo Vitturi wields a language of pigments, textures and sculptural forms held in a fragile balance.
In Dalston, a multicultural neighborhood in the East End of London (his home town), he takes an interest in the local market. There he made portraits, collected goods left over from the end of the market, and the words of customers and merchants, then assembled this heterogeneous material in the space of his studio. The exuberance of the territory and the personal fantasies of the artist meet. His still lifes become the place to compose images of a globalized world, struggling with the effects of gentrification and other mutations. A little later, he repeated this process in Lagos, Nigeria, translating the mechanisms of assimilation and resistance at work in the Balogun market, a city within the world-city, on location and then in his London studio.
