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That which enraptured me in these images was their suggestive power.
A power that increasingly made itself felt as I pored at them over and
over on the computer screen: the ruffled surface of the waters, parted by
keels of unknown destination; the atmosphere of abandonment, and mists of
dust under forlorn (rural?) sheds, inhabited by mystery, offering the
greatest secrets; the morning light tearing, foggy, into the darkness of
ancient woods; curtains as translucent as blown membranes, curdling light
in windows of sombre quarters; out of focus beams of trembling images, as
if taken on a train ride running at the edge of indefinite foliages;
corners of gardens in which, at day’s end, shadows stretch and obtain the
body of standing, thick trunks – in a word, all that our eyes can reach
when understanding searches the vaults of distant memory.
But these images also contain – with the force of evidence – the evoking
of the record mediated by the discovery of photographic vision, of
engraving with acids and of lithography in an unexpected hand colouring
effect, as if over the image in black, resulting from the subtle
appearance of tones of the finest hue (greys, rose, jade greens, blues,
ochre). There is, as well, a memory of cinema, represented by its minimal
cell, the photogram, which I consider impossible not to be
suggested and highlighted by the reading of these images as a sequence.
And there are also clues of a revisiting of the languages of gesture
abstractionism - I should say almost calligraphic - affiliated with the
Zen experience. Many of these images suggest something of the
monumental, an emotional enrapturing plunged in an intimate silence
inhabited by natural sounds – flowing waters, winds in the foliage, tense
vibrations...
It will always be possible that some may not see, in these light
creating shadows, the primordial light circulating through the forms that
it itself defines. But perhaps it should be enough to look at these images
like someone in the act of remembering. Like someone who reads, on the
inside of himself, news of the substantial, vigorous nature in its
contrasts, in some instances delicate in minute colour variations, in
other, trembling in aroused surfaces.
These are the shadows that light awakens. These are the drawings of first
light.
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