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Carlo Benvenuto, Untitled, 2013, C-print, 72 3/4 x 63".

Carlo Benvenuto

Galleria Suzy Shammah

Carlo Benvenuto, Untitled, 2013, C-print, 72 3/4 x 63".

Carlo Benvenuto has never strayed from his chosen way of working, which begins with his decision to photograph only everyday objects, found at home, and to present them at full scale, frontally and centered. The new photographic works—along with some small drawings and small sculptures—in his recent show inspired by Henri Matisse’s The Red Studio, 1911, find him continuing to adhere to this rigorous approach. In the famous painting at the Museum of Modern Art in New York, the red color saturates the space of the large canvas, which becomes a decorative plane, absorbing the objects contained within it and dissolving them. Likewise, in four of the photographs in this show (all of them Untitled, 2013), Benvenuto uses a dominant red as a filter to annul any indications of perspective and to accentuate the “presence” of the image. Following Matisse’s example,

Benvenuto compresses

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