Exclusive Interview with Diego Orlando, 2nd Prize Winner of the Photography Award, 2024 Beautiful Bizarre Art Prize
Diego Orlando is a visionary fine art photographer whose work dances on the edge of timelessness and modernity. He is the 2nd Prize Winner of the Photography Award from Beautiful Bizarre’s 2024 Art Prize.
Born in the evocative landscapes of San Sebastián in the Basque Country, Diego Orlando has mastered the art of transforming fleeting moments into eternal narratives. His journey into photography is deeply rooted in a love for the chiaroscuro techniques of Baroque masters like Caravaggio and Rembrandt, infusing his images with a dramatic interplay of light and shadow.
Diego Orlando’s photographs are more than just images—they are emotional spells, weaving a silent language that resonates with the eyes of our souls. His award-winning series, “La Mirada de Goya” and the hauntingly beautiful (award-winning) “Knight Paper/El Caballero de Papel,” reveal a profound exploration of human vulnerability and strength, each frame a meditation on the delicate balance of existence.
I entered the Beautiful Bizarre Magazine Art Prize because it aligns with my vision of pushing the boundaries of conventional art.
Inspired by the lush symbolism of the Pre-Raphaelite painters, Diego Orlando’s recent works delve into a rich dialogue between nature and idealised beauty. His process is one of discovery, seeking out ancient forests and historical architectures that serve as silent witnesses to the profound emotions he captures. Each location is carefully chosen, becoming an integral part of the visual poetry he creates.
With exhibitions gracing galleries from Los Angeles to Rome, Diego Orlando’s art transcends borders and eras, inviting viewers into a world where the past and present converge in haunting harmony.
Interview with Diego Orlando
Can you explain your journey into fine art photography?
My journey into fine art photography has been a quest to capture the intangible essence of the human soul. From a young age, I was enchanted by the chiaroscuro and emotional depth present in Baroque art. Inspired by masters like Caravaggio and Rembrandt, I sought to transpose that same intensity and drama into the photographic medium. Over the years, I’ve honed my technique to create portraits that are not merely images but narratives—stories that resonate on a profound and almost mystical level.
What has looking at the world through a camera lens shown you?
Viewing the world through the lens has unveiled hidden layers of reality that often go unnoticed. I’ve learned that there is profound beauty in fleeting moments—the passing glances, the subtle shifts of light, the unspoken emotions. The camera becomes a portal, allowing me to explore and capture the soul of my subjects. It has revealed that every individual and every scene holds a story waiting to be told—a story that transcends time and connects us all.
Do you play with digital manipulation? If so, to what extent?
While I respect the purity of traditional photography, I employ digital techniques to enhance the atmospheric qualities of my work. However, I use digital manipulation carefully and thoughtfully, much like a painter adding layers to a canvas. My aim is to enrich the visual narrative without overshadowing the authenticity of the moment. Digital tools allow me to deepen shadows, accentuate highlights, and create a harmonious balance that highlights the Baroque essence in my photographs.
What is your process for finding places to shoot?
Finding the perfect location is an integral part of my creative process. I’m drawn to environments that possess a timeless quality—ancient forests, historical architectures, spaces imbued with a sense of mystery. I often spend weeks exploring places that not only complement the subject but also enhance the narrative I wish to convey. The setting is crucial; it must resonate with the emotional nuances of the portrait, creating a cohesive and immersive experience for the viewer.
Can you share an inspiration (something new) that has recently started influencing your artmaking?
Lately, I’ve found profound inspiration in the Pre-Raphaelite painters. The richness of detail, symbolism, and connection with nature that characterise their works have influenced my artistic approach. I’m fascinated by how artists like Dante Gabriel Rossetti and John Everett Millais captured idealised beauty and deep emotion in their paintings. While I’m not familiar with Australian painters of that era, I’d love to explore whether there were artists in Australia influenced by this movement, as it could bring new perspectives to my work.
Explain the story behind your prize-winning work, “Knight Paper/El Caballero de Papel”.
“El Caballero de Papel” is a deeply personal piece that explores themes of vulnerability and inner exploration. The protagonist is a Basque painter in search of textures and movement within the abstract world. As a counterpoint, I depicted him dressed as a knight wearing armour made of paper. This fragile armour symbolises the delicacy of his artistic and emotional journey. The image captures the tension between the pursuit of strength and the acceptance of fragility, inviting the viewer to reflect on the dualities within our own existence.
Can you explain the classicism within your artistic approach to photography?
My artistic approach is heavily influenced by classical art, particularly the works of the Baroque masters. I seek to emulate their mastery of light and shadow, using chiaroscuro to create depth and evoke emotion. I aim to bridge the gap between the past and present by integrating classical composition techniques with contemporary subjects. Each photograph is conceived as a unique, large-format piece, much like an original painting, intended to be a singular work of art that stands on its own.
What can be found in the spaces between light and shadow?
We live in a world of shadows where it is difficult to find the light. In my work, I explore that personal and fascinating journey filled with doubts, fears, and joys. Through photography, I translate that human experience into images that capture the nuances between darkness and illumination. In the intermediate spaces of light and shadow, I find the essence of human emotions, reflecting both our internal struggles and the moments of revelation that guide us toward understanding and hope.
Why did you enter the Beautiful Bizarre Magazine Art Prize?
I entered the Beautiful Bizarre Magazine Art Prize because it aligns with my vision of pushing the boundaries of conventional art. The competition celebrates the avant-garde and the emotionally resonant, providing a platform for artists who, like me, seek to evoke profound responses through their work. It offered an opportunity to share my art with a wider audience, particularly in regions like Australia, where there is a rich appreciation for both the classical and the contemporary.
In the intermediate spaces of light and shadow, I find the essence of human emotions, reflecting both our internal struggles and the moments of revelation that guide us toward understanding and hope.
What did you feel you have gained from this experience?
Participating in the Art Prize has been immensely rewarding. It has not only allowed me to connect with a global community of artists and collectors but has also provided invaluable exposure for my work. The recognition has affirmed the direction of my artistic journey, inspiring me to continue exploring deeper themes and more ambitious projects. It has opened doors to galleries and collectors who appreciate the unique and singular nature of my large-format pieces.
11. Would you recommend it and encourage others to enter? If so, why?
Absolutely, I would highly recommend it to other artists. The Beautiful Bizarre Magazine Art Prize offers a remarkable platform to showcase one’s work to an international audience. It fosters a supportive community that values innovation and emotional depth in art. For any artist seeking to expand their reach and connect with like-minded creatives and discerning collectors, this experience is invaluable.
No Comments