In 1969, through I’ll be your mirror, Lüthi increases his own experience as a painter and art objects creator, confronting with photography : he realizes some snapshots shooted exactly in Milan, at Piazza Duomo, taking out himself and several passers.
His photography is biographical, at once.
The self-portraits in black and white of the ‘70s are so easy to read than they seem banal : the artist strect very static poses alone, in series.
Actually, these self-portraits belong truly and utterly to contemporary art icons : ironic, immediate, so up-to-date that the artist has recently presented them again, digitally refurbished, magnified and adorned with colors.
The facetious component in Urs Lüthi’s works, allows himself to research what is in his definetely own interest : the field between the drama and the burlesque, « The thin edge between laughing and mourning », as he defines.
Into this perspective, ambiguity is often the component which builts Lüthi’s artistic communication : what typifies and make it recognizable. Therefore, transessuality is not playing a whirly role, but is absolutely a getting rid of stereotypes, trying to achieve a profane normality whom anything grants to a common slush.
The philosopher Tiziano Santi well defined this peculiarity like a sort of « one dimension of the innerself ».
In 1969, through I’ll be your mirror, Lüthi increases his own experience as a painter and art objects creator, confronting with photography : he realizes some snapshots shooted exactly in Milan, at Piazza Duomo, taking out himself and several passers.
His photography is biographical, at once.
The self-portraits in black and white of the ‘70s are so easy to read than they seem banal : the artist strect very static poses alone, in series.
Actually, these self-portraits belong truly and utterly to contemporary art icons : ironic, immediate, so up-to-date that the artist has recently presented them again, digitally refurbished, magnified and adorned with colors.
The facetious component in Urs Lüthi’s works, allows himself to research what is in his definetely own interest : the field between the drama and the burlesque, « The thin edge between laughing and mourning », as he defines.
Into this perspective, ambiguity is often the component which builts Lüthi’s artistic communication : what typifies and make it recognizable. Therefore, transessuality is not playing a whirly role, but is absolutely a getting rid of stereotypes, trying to achieve a profane normality whom anything grants to a common slush.
The philosopher Tiziano Santi well defined this peculiarity like a sort of « one dimension of the innerself ».