If
we accept the idea that the purpose of photography is to return a coherent
and understandable image of reality and we do not consider the fact that
reality itself is not entirely objective, we cannot understand that the
perception of everything that surrounds us it is nothing more than the fruit
of our mental process that processes visual information. Therefore what we
call reality is only a set of individual, changing and unstable perceptions.
It is in this area that my research on informal photography moves, where the
realism of the mechanical medium is replaced by the perception of shape and
colours, sometimes unique and unrepeatable as in the encounter between
fluids of different colors and densities, other times with the
de-contextualization of an ordinary object, or part of it, to the point of
dissolving any reference to consolidated reality and regenerating it in a
new expressive solution. In any case, the "real" data is replaced by the
"possible" one and in this way reality is perceived through the senses,
where it is the mind of the observer that attributes meaning to what he
sees.
According
to Aristotle, matter is the substratum of every change, of every movement of
form. It is a principle of things, constitutive of corporeality. Thus
conceived, matter is pure indeterminacy, knowable only indirectly, arguing
its existence as necessary for the composition of reality. In this way
matter is understood as power, pure capacity, which is nothing, but which
can become something.
With the MATERIA series, my research on the concept of abstraction in photography continues, where matter is used in its different states to explore the expressive possibilities of forms. Some of these states of matter represent extremely fleeting forms, giving life to a composition that lives only for an instant, then disappearing into the matter itself.
Reality is a conspiracy created by the
illusion of the senses
Light.
Light and darkness are basic natural phenomena as well as symbolic or
metaphorical meanings that are often equated with the pairs of Being and
Non-Being, primordial chaos and world order. According to the most ancient
conceptions from the early civilizations of the Middle East, light and
darkness are experienced in rhythmical alternation and hence as being
contingent on each other. Darkness is the mysterious, impenetrable ground
and source of light; and light becomes associated with creation. It grants
and is therefore a symbol for the primal conditions of life: warmth,
sensuality, and intellectual and spiritual enlightenment.
The
02INFINITY series, or rather The Ekpýrosis, is a research on the concept of
abstraction that originates from the de-contextualization of an ordinary
object, or part of it, to the point of dissolving any reference to visible
reality. It is in this way that the formal element, reduced to fragments, is
regenerated towards a new expressive solutions.
Although
the seed had already been sown since the seventeenth century, it was in the
twentieth century that the revolt of artists against the concept of
"beauty", or at least the denial of the aesthetics of beauty, exploded in
all its virulence, inside the historic avant-gardes, especially Cubism,
Dadaism and Expressionism. This last movement, in particular, exalting the
emotional value of art, seeks the subjective vision of reality and tries to
represent the anxieties of modernism and the ugliness masked by bourgeois
hypocrisy. In representing this, expressionism does not hesitate to use
unpleasant images, indeed, never as with expressionism does 'ugly' become
art!
