To Dream, to Collect


The strangers, 2019

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Signed Dated Titled Framed


70 x 50 cm
27.56 x 20 in







  • About the work


About the Artists

1985 Brescia, Italy

Visionary. Oneiric. Satirical. Ironic. Provocative. Irritants. Funny. Irreverent. Stimulants and destabilizers.

You rarely find many adjectives equally appropriate for photographs belonging to a single author.

Dorothy Bhawl succeeds, capable of combining reality and fiction in a very successful game of which she is a wise director, as well as a set designer. Film echoes of the first Jodorowsky, surrealist tributes of the best Salvador Dalì and psychedelic visions of the "cursed" Allen Ginsberg are the references of a production that never manages to be banal and obvious.

Frames of adrenaline as unlikely narrations, Dorothy's shots are the result of long and well-kept pose room sessions that leave nothing to chance, but which obsessively seek even the smallest details, intended to compose the final staging.

His "style", his trademark is immediately recognizable not so much for the technique as for the content expressed and, in a period in which the bulimic production of images has accustomed us to levels of approval now worrying, its immediate identification they make him a leading figure in the panorama of Italian photography.

Dorothy Bhawl's works are the allegorical representation of most of the contradictions present in contemporary society. The paradoxical and sometimes grotesque combinations of objects and people, which find the harmony of opposites in their encounter, are a subjective testimony and stimulus for reflection.

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About the Gallery


Brescia, Corsia del Gambero, 16

After the opening of the first gallery in Chiari (Bs), in the '70s, by Antonietta and Luigi Colossi, the passion for art is carried on, in the 2000s, by the second and third generation of the family: Daniele Colossi and his daughter Antonella who moved the office in the old tawn centre of Brescia. Their aesthetic line aims at the historical-critical study of...

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