From Loring Knoblauch’s review of “Muses” for Collector Daily:
Calafiore uses a large pinhole camera, whose long exposures (some are more than an hour long) and trial-and-error techniques introduce plenty of uncertainty into his process. The camera obscura reverses the tonalities of the image, creating negative exposures where light and dark are reversed. And in the case of glass as a subject, this inversion is particularly rich in its visual possibilities: dark areas and shadows tend to glow when reversed, and flares and highlights that normally dance across the surface of the glass appear as black spots.
All of this might have been meticulously dull had it not been for Calafiore’s electric use of color in these works. These pictures blast off the wall with candy-colored effervescence, each one a startling clash of hues from across the color wheel. By playing with saturation and translucency, Calafiore can effectively tune how the colors behave across each object, and it’s clear that he has encouraged them to adopt their brightest and most eye-catching properties. If Vera Lutter’s pinhole cityscapes have an otherworldly quiet to them, Calafiore’s arrangements are just the opposite – they jangle with ethereal energy, even when the inversions turn moody.