The new series AFTER DARK, presents us with naturalistic perspectives, places characterized by essential forms, “minimal” compositions sometimes to the limit of abstraction, where strong contrasts between the light and dark tones create images that are well-defined, but also evanescent and nebulous atmospheric visions.
But in this series, is it the darkness that advances in the surrounding space as the aerial substance that envelops and transfigures everything? Or rather is it the light which contrasts this slow and progressive diffusion?
It is as if the eternal opposition between these two natural manifestations found their perfect visible and emotional equilibrium, as if the passage from the darkness of the night and the lumiosity of the day were captured by the lens right at the culminating moment, a crescendo that acquires its most satisfying expression in the correct timing of the shot and the shutter click.
The subjects, therefore, become the protagonists in a natural spectacle, the interpretation of a reality that lies waiting to be understood in its most suggestive and captivating aspects.
This is also thanks to an attentive and accurate capacity to observe that goes beyond appearance and directs itself towards pure visibility; with tonal gradations that are like a second layer of concrete reality – present but concealed – that manifests itself only if one has the privelige of being able to feel it inside before seeing it on the outside, grasp its presence before it escapes forever, and discover its strength before time weakens and disperses it into its continuous and relentless flow.
This series called “Golden Light” is an extreme synthesis of my work done in Iceland over the course of 2012-2013.
The title was given by itself, naturally, to express the particular condition of the light during that long, enchanting dusk, sometimes golden; that magic that renews itself in those places in the period between June and August which I wanted to pay homage to.
Iceland is a dream land unique in world, where nature, more than in any other place, makes its presence felt, flaunting its Art of molding extraordinary landscapes with ice and fire.
None of this escaped Leopardi, setting his “Dialogue of Nature and of an Icelander” in this land, where nature is conceived as an absolute and immense force where man’s occupied space is unimportant.
The situation isn’t as different now; human presence is but a small margin in the great spectacle that every day nature puts on stage.
From these works my philosophy clearly emerges: “Landscape for me is a vision where a state of mind and an atmosphere are grounded.”
The intent is to render visible through photography “the itimacy of a place” entering into a relationship with it. Closing an image in a fragment of reality, capturing the flowing of time and making the invisible visible, sometimes offering details of unidentifiable landscapes. The subjects undress themselves of their apparent nature and reveal the mystery of pure form.
I study and I interrogate myself constantly on the use of the photographic medium, exploring its barriers and trying to go beyond them. In this way photography becomes the instrument to translate ideas and visions into something tangible.
I would like my photography to, beyond mere aesthetic pleasure, offer simulation to the mind which is not necessarily tied to our experience, and to know how to develop a conscious and unconscious vision of the hidden face of the world that surroundsus.
According to the German etymology of the word , white “Bianco” derives from ‘blanch’ meaning shining. This is an obvious condition for a colourless colour that contains the chromatic choice of the electromagnetic range, a bright and luminous combination that hides the process under the optical relaxing result. The description of the world through white implies a radical point of view that tranforms the realism of primary colours.
White has nothing to do with compromise, but goes beyond meat, rises towards the sublime, reaches heights, enters silent depths, orders and puts harmony where chaos existed.
The images portray moments in long perspective on landscapes of uncontaminated beauty. Real places that the tone and shade management transforms into spirit, fixed sheets of music that play long , subtle, ultrasonic notes. Someone could say.. white noise: because in the pictures there is a beating silence with a regular rhythm, a sound coming from the distance that goes towards heavenly conscience of the future. The liveliness of the landscapes is impressive; they are so clear yet so evanescent, interior geography with indefinite borders, real spaces in their abstract nature dating back to thousands of years.
Places with a solid naturalistic impact, monolithic progeny that imposes its archaic volume in a constant strategy of resistance. The world becomes homogeneous in front of the photographer’s eyes: from the United States to the Seychelles Islands, from Italy to the Engadin mountains, you feel a string (white in this case) that combines different geographies in a consistent discipline of looks. The distances become subtler under the visual breath of the author, every social aspect disappears in favour of a homogeneous planetary disposition. Several places are conscious chapters of a slow, deep and rational look: to narrate a planetary epics that resounds with the percussion of rocks, the branches of trees, the breaths of winds, the white and black waves of the sea. It is the visual music of entropy, the harmonic link that caresses the Planet while it breathes through its spaces of oxygen.
The white as a discipline…
I started to take my first American photos in 2006, during a Workshop with Kim Weston, grandson of the legendary Edward. He conducted me for the first time to Point Lobos. The beauty of this Place has been a strong catalyst for my photographic eye. Perhaps has been here that my main interest is consolidated on the Landscape, that I feel as the meeting with a Place. Sometime I keep only a small detail of it, but it always has to return me like an emotion as the moment of the click. Americas is a portfolio shoot all around STATES both in the great metropolises as New York, San Francisco, Los Angeles, as in the mythical American’s places: Yosemite, Point Lobos, Monument Valley, up to the remote areas of the Southwest (Arizona, Utah and New Mexico). Specially in this area I have realized different images in an ancient reserve Navajo, there is a small Canyon where the ancestors of the Indians of America, the Anazasis located their ancient dwellings, a kind of “cave-house” literally built in the rock. Spectacular rocks, where the nature seems to have had a good time creating some Murales. In this area I have been guided by my Teacher and friend John Sexton connoisseur of these places from over twenty years, when the first time he went with Ansel Adams that also here realized wonderful photographs.
Even if in Americas portfolio miss human presence, photographs give out a strong presence of the past and contemporary humanity that allow space to observer’s imagination.
Rocks and Ruins apparently oppose with great bridges and skyscrapers, but really this is essence of my American vision, extreme technology and giant nature. This concept fit my photographic approach: to gather the poetry of the Place and translate it in a perfect technical photograph. Thanks to my teachers that gave me great technical support, but overall great inspiration and more large vision of the photographic medium.