10 Nov Web Landscape Photography: maps and soul
From above a new prodigy always emerges, a sort of solitary feeling sweetened by the imagination, like a glare, a silent and glimmering link. What the anarch writer Ernst Jünger emphasised on ‘prodigy’ and ‘distance’ looks out, as if by enchantment, on Max Serradifalco’s post-computer-era visions, in a congeries of modern, or more exactly post-modern, aerial images with a painterly enamel in which everything seems to purify itself, to annihilate itself in the essentiality of the natural object, of a geography and geology directly brought to the pupil, to the heart. This production, expunged and shown by the Google maps, as in a creative post-production, is codified, with Max, in the wish to use images which are already manufactured, to re-create them through an ideal emplacement, a personalized one, and images into which there can be transported the sign of that sensibility for the natural object nurtured in the vast scenario of the archive of visual products afforded by the network. And, above all, to prompt the creation of cognitive links with other visual packages that technology daily places on the plate of observation. In this way science and nature can find, once more, through various types of juxtaposition, a further meaning, a semantic enrichment on the plane of perceptive reading. Hence the photographic ‘capture’ by Serradifalco, a graphic artist and naturalist photographer, traces out, in his re-examining and re-creating, in approaching the charm of the ‘maps’ through Internet navigation, his project of the earth, for a geology open not only to ecological discourse but also to aesthetic examination. Links can be traced with much culture of air painting or with the images created, from the end of the sixties, by Anna Sanesi, and with that meeting with a sort of terrestrial cartography open simultaneously to satellite precision and to interpretative imagination. It is a possibility also to be linked to the ‘land art’ collected, here, on the figurative, compositional plan, to manifest itself through photographic models and vivid displays of colour. In this way this ‘web landscape photography’ by Max Serradifalco seems to dilate the terrestrial spaces into a polychromy of visual promptings which take greater substance from the printing of material captured from the web. It is the new ‘position’ that configures the re-created perspective of enjoyment: from the clayey monochrome of the Sahara desert (Algeria) to the informal mountains of the Glen Canyon in Utah; from the dendritic Himalayan pastiness to the abstract formal elegance of the German Bayern. It all leads to empathy of vision, to yield, through the web, that sentimental topicality aiming at the spiritual capture of nature: a new eye, for an ancient soul.
Aldo Gerbino – Palermo, November 2011