Ophelia, a character from Shakespeare’s play Hamlet floatingin a river just before committing suicide drowning for love (namely for Hamlet); this is the inspiringcharacter of Silvia Camporesi’s photographic historiography.
This theatrical character, staging the beauty of her deadfemale body, is reconstructed through Silvia Camporesi’s real set; a setresembling to the last detail the one of IV act from Hamlet, but above all replicating the one of Millais’spre-Raphaelite image.
Performed in the Tuscan countryside, where can befound the same daisies, the same red poppies immersed in those same glassyriver waters where Ophelia is veiled in her wedding dress, lying in the water singing songs.
Silvia Camporesi composes by degrees and “chapter by chapter”her story of her own Ophelia, who is the protagonist surrendering her femalebody to the waters. The waters act as an existential and poetic element ofattraction and liberation, which swell the dress and sustain the body (and perhapslife).
In short, Camporesi’s work conceals words, or bettertransmits the plot of a text perceivable by thought but not read with the eyes.
Words Paola Noè