David Yarrow Scottish, b. 1966
La Dolce Vita, 2024
Archival Pigment Print
Available in 2 sizes:
Standard - 52 x 67 inches
Large - 71 x 94 inches
Standard - 52 x 67 inches
Large - 71 x 94 inches
Edition of 12 plus 3 artist's proofs
LA DOLCE VITA VITA Positano, Italy - 2024 Positano - the poster child of Italy’s Amalfi Coast - is best viewed from the sea. It is only from the water...
LA DOLCE VITA VITA
Positano, Italy - 2024
Positano - the poster child of Italy’s Amalfi Coast - is best viewed from the sea. It is only from the water that its spectacular cliff hanging location is visually showcased and there is a palpable and most necessary sense of place.
This is the Italy that is loved across the world: for the pleasures and indulgences; its effortless style and its traditional values. We live in a beautiful world and the Amalfi coast reminds us of the need to retain that state of mind as firmly as any coastal region on the planet. It has a unique and visceral allure that can run very deep into the sensibilities of travelers and locals alike. The coastal communities can cast a spell and visitors extend stays, whilst locals seemingly never leave. There is generational continuity down here from fishermen to taxi drivers. It is difficult to conceive of a book being written about strong local communities across the world and Neapolitans being excluded.
When I was scouting in the bay off Positano in the spring, I was struck by the beauty of the light just before sunset. The view looking west to town is always intoxicating, but when the sun disappears behind the mountains, it darkens quickly and a new mood descends on the community. House lights come on and, rather like mobile phones at a Coldplay concert, their random formations add a new layer to the canvas.
My research suggested that there was a 15-minute window in the evening when there was just enough light to shoot from the sea, but it was dark enough for the town to be a “sky full of stars”. Shooting from a boat is never easy, but at twilight it is a particularly low percentage practice as the camera is working at the edge of its capabilities. The trick was to shoot over more than one night and wait for a calm ocean. Cameras have also become immeasurably more capable in low light, so the cameraman has more opportunity.
I recognize that one photograph cannot bottle up and fully embody the sensory overload evoked by Italy, but for those that connect with La Dolce Vita at its most indulgent level, this may not be far off their Italian ideal. It’s a dreamy photograph and that was always the intent.
I want to thank Kelsey Merritt who took time out of the Paris shows to work with me that day. She played the role of the quintessential Italian beauty with grace, confidence and intelligence.
Positano, Italy - 2024
Positano - the poster child of Italy’s Amalfi Coast - is best viewed from the sea. It is only from the water that its spectacular cliff hanging location is visually showcased and there is a palpable and most necessary sense of place.
This is the Italy that is loved across the world: for the pleasures and indulgences; its effortless style and its traditional values. We live in a beautiful world and the Amalfi coast reminds us of the need to retain that state of mind as firmly as any coastal region on the planet. It has a unique and visceral allure that can run very deep into the sensibilities of travelers and locals alike. The coastal communities can cast a spell and visitors extend stays, whilst locals seemingly never leave. There is generational continuity down here from fishermen to taxi drivers. It is difficult to conceive of a book being written about strong local communities across the world and Neapolitans being excluded.
When I was scouting in the bay off Positano in the spring, I was struck by the beauty of the light just before sunset. The view looking west to town is always intoxicating, but when the sun disappears behind the mountains, it darkens quickly and a new mood descends on the community. House lights come on and, rather like mobile phones at a Coldplay concert, their random formations add a new layer to the canvas.
My research suggested that there was a 15-minute window in the evening when there was just enough light to shoot from the sea, but it was dark enough for the town to be a “sky full of stars”. Shooting from a boat is never easy, but at twilight it is a particularly low percentage practice as the camera is working at the edge of its capabilities. The trick was to shoot over more than one night and wait for a calm ocean. Cameras have also become immeasurably more capable in low light, so the cameraman has more opportunity.
I recognize that one photograph cannot bottle up and fully embody the sensory overload evoked by Italy, but for those that connect with La Dolce Vita at its most indulgent level, this may not be far off their Italian ideal. It’s a dreamy photograph and that was always the intent.
I want to thank Kelsey Merritt who took time out of the Paris shows to work with me that day. She played the role of the quintessential Italian beauty with grace, confidence and intelligence.