Dan Bannino

Born in 1988 in Italy. Lives and works in Turin, Italy.

©Dan Bannino,  Neon Vanitas - Jesus Christ , 2019.

©Dan Bannino, Neon Vanitas - Jesus Christ, 2019.

©Dan Bannino,  Selfportrait .

©Dan Bannino, Selfportrait.

 

After living many years in London, working as a photographer, he is now dedicated to his personal projects in Turin. Interested in unusual themes, he has been praised for the clarity and sharpness with which he translates ideas into images. In 2016, he received the certificate “Seeing Through Photographs” from the MOMA, New York.

His work has been shown in Toronto, London, New York, Venice (Biennale of Art, 2015), and gained international fame appearing in major newspapers and magazines such as The Times, Vice, The Huffington Post, Artnet, WideWalls, Elle and Cosmopolitan.

In Neon Vanitas, Dan Bannino’s aim is to capture the beauty found in the last meal consumed by celebrities and historical personalities, following a style that resembles Dutch Golden age’s vanitas compositions, clashing with a distinctive saturated lights ensemble.

Combining influences from the Old Masters and the contemporary pop culture displayed on the internet or TV, Dan Bannino’s work has been aptly described as ‘‘Pop - Baroque’’ or ‘‘Pop - Renaissance’’.

Neon Vanitas is a still life series inspired by the last meal consumed by famous and historical figures. Following a style that resembles Dutch Golden age’s vanitas compositions, Neon Vanitas is clashing with a distinctive saturated lights. The decorative abundance and the precariousness of life are represented by the stories contained in the series, as relevant today as they were in the seventeenth century, contrasting and thus linking two distant epochs, but with much more in common than we can imagine.

Dan Bannino is fascinated by how people often take an interest in the last meal consumed by celebs before they die. As if somehow you could find the answer to the cause of death in their food, or if a reading key is hidden in the dish for some apparently not obvious problem, increasing the mystery that often follows these sudden tragedies.