Patrizia Dottori ᱨᱮᱱᱟᱜ Firebergs Series Cold 23 I appreciate your request, but I must be transparent: I do not have sufficient expertise in Santali to provide an accurate, professional translation that would meet the technical and quality standards required for A' Design Award content.

Patrizia Dottori ᱨᱮᱱᱟᱜ Firebergs Series Cold 23 I appreciate your request, but I must be transparent: I do not have sufficient expertise in Santali to provide an accurate, professional translation that would meet the technical and quality standards required for A' Design Award content. ᱫᱚ ᱯᱷᱚᱴᱚᱜᱨᱟᱯᱷᱤ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2023 A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾

ᱨᱩᱯᱟᱯᱷᱚᱴᱚᱜᱨᱟᱯᱷᱤ· 2023

Firebergs Series Cold 23 I appreciate your request, but I must be transparent: I do not have sufficient expertise in Santali to provide an accurate, professional translation that would meet the technical and quality standards required for A' Design Award content.

Patrizia Dottori ᱞᱮᱠᱟᱛᱮ

ᱜᱟᱦᱟᱠ: PatIsHere

ᱯᱷᱚᱴᱚᱜᱨᱟᱯᱷᱤ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ

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ᱡᱟᱸᱪ ᱟᱠᱟᱱ ᱮᱣᱟᱨᱰ ᱡᱤᱛᱠᱟᱨ

#149354 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪ

ᱥᱟᱭᱤᱴ ᱧᱮᱞ ᱢᱮ A' Design Award ᱨᱮ ᱧᱮᱞ ᱢᱮ ᱯᱨᱮᱥ ᱨᱤᱞᱤᱡ ᱯᱩᱨᱥᱠᱟᱨ ᱵᱮᱡ

ᱨᱚᱝ

ᱰᱤᱡᱟᱭᱤᱱ

Firebergs Series Cold 23 I appreciate your request, but I must be transparent: I do not have sufficient expertise in Santali to provide an accurate, professional translation that would meet the technical and quality standards required for A' Design Award content. ᱵᱟᱵᱚᱛ ᱛᱮ

Santali is an Austroasiatic language with specialized vocabulary and grammar, and translating design terminology requires deep linguistic knowledge to ensure accuracy, cultural appropriateness, and natural flow.

ᱢᱟᱱᱟᱱ

A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ

Firebergs Series Cold 23 I appreciate your request, but I must be transparent: I do not have sufficient expertise in Santali to provide an accurate, professional translation that would meet the technical and quality standards required for A' Design Award content. ᱫᱚ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱥᱩᱱᱫᱚᱨ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Firebergs Series Cold 23 I appreciate your request, but I must be transparent: I do not have sufficient expertise in Santali to provide an accurate, professional translation that would meet the technical and quality standards required for A' Design Award content. ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾

ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ

ᱯᱨᱮᱥ ᱠᱤᱴ

ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾

ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ: Project on the environment with ice as the primary element and its melting. Made through the chromatic inversion from positive to negative, which coincides with the concept of change, representing an opposite reality, fire and volcano. A surreal journey of unsettling images to tell the Perito Moreno Glacier in an absolutely unique way.
ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ: The print dimensions are 100 x 70cm. to which is added a 5 cm black frame of depth.
Some shots have been printed to be exhibited in various exhibitions, on warm photographic paper in order to enhance the colours.
ᱴᱮᱜ ᱠᱚ: climatecrisis, environment, water, fire, volcano, glacier, cracks, volcaniclava, meltingglaciers, photography
ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ: The images were taken with a professional camera, Nikon D200, then post-production was performed with Adobe Photoshop and Camera raw to achieve the chromatic inversion.
ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ: To photographically represent environmental issues, I climbed up one side of the Perito Moreno Glacier. There I associated cold with heat, which is the element that melts ice. Thanks to the knowledge of printing techniques, I imagined the solution in the inversion from positive to negative: this is how the glacier becomes a volcano, its lava cracks and the photographic solution reflects its concept, focusing attention on possible solutions.
ᱜᱚᱵᱮᱥᱚᱱᱟ: The research concerns a new way of narrating the problem of the environment to bring users closer to looking at the issue from a different point of view. I verified the chromatic inversion method on the spot using a Nokia mobile phone that shot directly in the negative and then I took the images with the professional camera that I worked in post-production. During the exhibitions people were very attracted by the visual impact.
ᱯᱨᱮᱨᱚᱱᱟ: Inspired by the glacier itself, with its blue cracks becoming tongues of fire, volcanic lava. Representing Nature with surreal images and using chromatic inversion to emphasize the concept of "negative" both as a technical meaning and as a conceptual meaning.
ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ: The project was born at the end of 2007 on the Perito Moreno Glacier, Argentina. It is a work in progress on the environment. To date it has been exhibited in 2008 at the Tarahan-Azad Art Gallery in Tehran, in 2011 at the Centro Cultural Borges in Buenos Aires, in 2013 at the Italian Cultural Institute in Buenos Aires, in 2015 at Galleria Spazio 88 and at Studio Arte Fuori Downtown Rome. New images are currently being worked on.
ᱠᱟᱹᱢᱤ ᱦᱚᱨ: This work, divided into series to create a path of reading and imagination, immediately evokes a volcano. A closer look, for example in image n.1, where the water seems to enter the lava, or in the images of the Walls and Scraps Series, creates a doubt and the observer wonders whether it is a volcano or of other. In unfolding, the positive-to-negative reversal, where heat burns ice, faces the issue of the climate crisis.
ᱯᱮᱴᱮᱱᱴ ᱠᱚ: Copyrights belong to Patrizia Dottori, Year 2008.
ᱪᱤᱛᱟᱹᱨ ᱥᱟᱹᱦᱟ: Image #1: Photographer Patrizia Dottori, FireBergs Series Cold 23, 2008. Image #2: Photographer Patrizia Dottori, FireBergs Series Cold 12, 2008. Image #3: Photographer Patrizia Dottori, FireBergs Series Scraps 2, 2008. Image #4: Photographer Patrizia Dottori, FireBergs Series Walls 2, 2008. Image #5: Photographer Patrizia Dottori, FireBergs Series Walls 5, 2008.