Domenico Foschi’s images in Tarnished Promises reflect both combined intent and chance. Foschi started Tarnished Promises as a need to express emotions that were tied to his childhood, a time in life when possibilities are infinite, and the world is an exciting playground full of promise. Once trauma entered Foschi’s young life, however, his outlook on the world became stained. Modern science informs us that trauma physically changes pathways in the brain with lasting consequences that can reshape perspective. Foschi’s images reveal what happens as the promise of a wondrous and rich life is tarnished. He wanted Tarnished Promises to be uncomplicated in form and content, as if a child had clicked the shutter of the camera. Simple compositions that give the objects photographed a kind of personification and/or anthropomorphism became an important component in the execution of his project. It was through an accident in the darkroom that Foschi discovered a way to convey feelings that he could not have expressed in any other way. In one of his darkroom sessions, while working on another project, he spilled potassium ferricyanide on one of his toned prints. Foschi was amazed to see how it changed the grays to reddish and rusty hues, displaying some caustic like effects on paper. It was this moment that gave way to the beginning of this project. It was time to tarnish his prints.
Although always exploring different kinds of creative media, since childhood Foschi found that photography would be what he would stick with after stealing his brother’s camera for a short photography trip when he was 19 years old.
Not being able to afford a formal education in photography, Foschi studied the work of the masters in books. He found the expressive power of the work of Alvin Langdon Coburn, Kertesz, Steichen, Stieglitz, Strand, Sander, Penn Avedon and others to guide his development as a fine art photographer.
Working in the Sergio Guidetti Studio Fotografico, Foschi received hands on training on the use of large format cameras as well as techniques for developing and printing images. Subsequently he worked as a freelance commercial photographer in Ravenna, his hometown, shooting for magazines, newspapers, the city administration and political parties. Foschi realized that commercial photography wasn’t going to allow him to explore his creativity in a personal way. He moved to the United States in 1989 and began to produce various kinds of portfolios ranging from portraits to urban landscapes, still life, and Italian landscapes.
Foschi returned to commercial work, producing CD covers for recording artists and taking on commissioned fine art black and white portraiture. He received awards for his images, and his work has been published in View Camera Magazine, B/W Magazine, Silvershotz Magazine, Blow Magazine, Looking Glass Magazine and other publications. His work has been shown at the Los Angeles County Museum of Art and in galleries in Spain, Italy, and the United States. In 2009 he was a grant recipient from the HARC Foundation in Santa Monica.