朱尔斯・费里尼（Jules Ferrini）通过《黑姐妹》（Noires sœurset ）与《现代罪恶》（Modern Sins）两大核心系列，以光线为媒介、时间为线索，赋予重构性黑白美学以生命质感。其创作足迹横跨纽约反乌托邦式的天际线与东方朝圣者身影笼罩的街巷，这一持续深化的美学探索，已在阿尔勒集体展览 “10/10” 中完成重要呈现。

画面中，一张面容自大理石般褶皱的衣袍间浮现 —— 苍白肤色暗合乳牙的纯粹质感，表面裹挟着脆弱易碎的剥落肌理，宛如经时光侵蚀的古旧灰泥。宁静的黑色背景与蜿蜒舒展的衣褶交织，构筑出庄严肃穆的静谧场域。

从保加利亚里拉修道院到伊斯坦布尔蓝色清真寺，费里尼以镜头捕捉信仰的物质化形态：它既是遮蔽躯体的衣袍，亦化作锻造神秘灵性的盔甲，人们退入这层褶皱的庇护之中，隐匿自我，最终消融于仪式性的静默里。

艺术家早年深耕新闻摄影领域，后因结识技艺精湛的印刷师与工匠迪亚曼蒂诺・昆塔斯（Diamantino Quintas），得以叩开艺术摄影的大门。昆塔斯的创作理念彻底重塑了费里尼的创作逻辑，他曾阐释：“如今我的创作本质是一场美学探险，将技术实验与对人类形态及形象之美的追寻相融合。后期制作中，我运用日蚀法拓展视觉边界，突破常规感知的局限。”

尽管费里尼明确表示，系列作品无意对所描绘的宗教仪式作出任何正向或负向评判，但他的镜头始终扮演着积极观察者的角色：扫描、对称化画面，开辟出一条通往反乌托邦想象的路径 —— 介于《罪恶之城》的强烈明暗对比与《沙丘》的苦行派秩序之间。而在这里，一如艺术史中永恒的辩证法则，黑暗始终是彰显光明的必要语境。

Through two series, Noires sœurset and Modern Sins, Jules Ferrini manipulates light and time to animate the darkness of a reinvented black-and-white aesthetic. Spanning the dystopian skies of New York and the shadowed hoods of Eastern pilgrims, his work embodies an aesthetic inquiry presented within the collective Arles exhibition 10/10.  



A face emerges from the marble-like folds of a tunic—its pallor reminiscent of a milk tooth, its surface bearing the fragile, flaking texture of aged plaster. Surrounding it, a serene black background and the sinuous drapery evoke a sense of solemn stillness. From the Rila Monastery in Bulgaria to Istanbul’s Blue Mosque, Ferrini captures faith as a garment that conceals the body while shaping the enigmatic folds of a spiritual armor—into which figures retreat, conceal themselves, and ultimately vanish.  



Having begun his career in photojournalism, the artist discovered fine art photography through Diamantino Quintas, a master printer and artisan whose influence transformed Ferrini’s creative process. “Today, my approach is fundamentally an aesthetic quest,” he explains, “one that combines technical experimentation with a pursuit of beauty in human forms and figures. In post-production, I employ solarization to expand the visual imagination beyond the limits of normal human perception.”  


While Ferrini emphasizes that the series carries no intention to pass judgment—positive or negative—on the religious practices depicted, his camera functions as an active observer: scanning, symmetrizing, and opening pathways into a dystopian imaginary poised between the stark contrasts of Sin City and the ascetic orders of Dune. Here, as always, black reveals light.