Francesco Bosso in Spoleto presents the new series “After Dark”, in addition to previous “White World” and “Golden Light”. A triple shooting in the scenic trip that turns into pictorial material, including infinitesimal variations of black and white and its stirring, dreamlike abstractions and calibrated geometry. VISUAL ARTSBUILDING COLLICOLA presents Francesco Bosso White Golden Dark By Gianluca Martians The exhibition is included in the official program of the Festival of the Two Worlds 28 June to 28 September 2014 Press contact About Museum System: PRESS Francesco Bosso / WHITE GOLDEN DARK by Gianluca Martians

The photographic study of an artist of the contemporary landscape
The virtue aesthetics meets the rigorous thematic and conceptual caliber
Three loops on the edge of evolutionary continuity. A unified vision

Francesco Bosso in Spoleto presents the new series “After Dark”, in addition to previous “White World” and “Golden Light”. A triple shooting in the scenic trip that turns into pictorial material, including infinitesimal variations of black and white and its stirring, dreamlike abstractions and calibrated geometry. Here, the pure photography that exceeds the boundary of technological time, crossing the threshold metaphysical space alien, places that become mental geography, the beautythat feeds images as well, rarefied as the placid water of a northern sea. GOLDEN LIGHT is figurative immersion in the Icelandic landscape. Boxwood has found analchemical harmony with the northern island, a box of precious intonations which is expressed in the rigor sacral atmosphere, plastic volumes in the mountains, in the density of oily water, as if it had mercury that holds the light, irradiating a metallic sheen and solarized-ray. Here the light expresses a peak modeling, profilingbecomes solid matter volumes of the landscape, to the point of making the color a sum epidermal and muscle. AFTER DARK ideally continues the search for the “Golden Light”, along a gradual descent into darker tones, modulations detailed gray, and marked contrast between the strong abstraction of the frame. Everything here is pure essence, the archetype of mental forms, geometry sidereal crosses the organic cycle of figuration naturist. The image is purified from all drossiconography, following the architectural imprint of Cartier-Bresson, creating sublime visions that move away from the ground and draw imaginary. WHITE WORLD is the cycle of saturation, the vertigo of white sidereal ecstasy that leads to the dark necessary. Spaces narrated confirm pictorial Bosso and his abstract consciousness, a code expression that seeks the Platonic ideal beyond the surface, beyond appearances emotionality objective, the poetic act beyond the fact narrated. Many expertspoint to the eyes on the talent of Boxwood. His view of the scenic landscape harmonious with the breath of Romantic painting Caspar David Friedrich to understand,metabolized and sized on the weight of contemporary photography. Always prefer the black and white modular, made up of many variations of gray and tonal scales in between. His expression think in a pictorial way, naturism in powerful landscape. A visual methodical and slow, the result of long waits in the places chosen, precious materials to be printed, techniques from the infinitesimal calibrations. The result is a journey of its cycles suspended, gaseous stage of the look, pure abstraction inthe power of the path taken. Boxwood seems to draw the rarefied air, giving density to the air, the skies, the water surfaces … its places are transformed into limboalien, devoid of humanity in the field, a metaverse floating imprinted on the gravity of reality. Writes Martians in “White World”, “The works of Boxwood are daughters of a respectful approach, full of living experience and a sense of roots. You understand that in his world coexist machinery valuable to history, ancient techniques ofprocessing and printing, fine papers which embodies the timeless look of the author. Do you feel the echo of some masters such as Edward Weston, Ansel Adams, John Sexton, Irving Penn, generally feel the timeless traditions of a photographic approach beyond fashion, beyond the pure technology, as well as the easy media effects … “WHITE GOLDEN DARK … three words from each of the cycles present in the Palazzo Collicola three interior views that condense in the dynamic pace of the colors … the white lights up the fulness optical and suspends the physical elements … the gold that adds precious ancestral places, their memory of longcourse, resistance that spans the mineralized human … the dark which adds to the smell of the night, the mystery of the hidden side, the depth behind every glare, behind all magic valuable. Gianluca Martians “… These are places from solid impact naturist, progeny monolithic imposing his size archaic in a constant strategy of resistance … … The distances dwindle under the breath of view of the author, it disappears every social aspect in favor of a ‘homogeneous planetary arrangement. Several chapters conscious places like the look slow, deep, rational: to tell an epic planetary rings with stone percussion, strings of trees, the wind of the wind, the keys Juventus sea. And ‘the visual music of entropy, the hook harmonic That Shakes the planet while breathing oxygen from its multiple spaces.