- Dates14/03/2015 - 30/04/2015
- CuratorsCamilla Crescini
- GalleryModena ( Via Farini, 56, 41121, Modena, Italy )
A blank page in the landscape
by Camilla Crescini
In A blank page in the landscape photographer Fabrizio Ceccardi delivers an environment that goes beyond indications. He builds an entirely contemporary world of discomfort and anxiety, of beauty and calmness, of alienation and distance. The insistent world of the modern real.
As the Romantic artists have done, Ceccardi isolates himself in pristine, pure nature, in regions where nature is the main character. A pernickety and manic research on places, which does not overlook the amazement, the wonder, the first run, the discovery - essential in all the work. Ceccardi, just like a modern Romanticist, craves infinity, he looks for it in his pressed horizons, in the clarity of his flares, in the expanses crossed by zigzagging streets, in the vast plains where the houses seem to be thumbnails.
The one by Ceccardi is a Romanticism almost post litteram in which the reflection on the infinite also talks about the current condition of humanity, wrapped in a media cloud, in a constant and never-ending noisy background.
A certain form of awareness surfaces also in Ceccardi’s photographs. The conquest of nature by the photographer is not only physical fatigue: more than anything else it is primarily an aesthetic achievement that would have been impossible without Ceccardi’s familiarity with Caspar Wolf’s paintings
In Out of Eden (2010/2011) and Ordinary Chaos (2013) the photographer recognises made-men structures although no one here is to see. Ceccardi captures the absence: lack of presence.
In his last work, presented here for the first time, the human figure enters on tiptoe. It never imposes its presence in an overbearing way and it does not makes itself protagonist. It is just a guest appearance on the stage of nature, it does not play any parts but the one to step the photographs’ observer into infinity, an invitation to look beyond.
The photographs exhibited dialogue and reason together on the theme of the double: end and beginning, wonder and terror, man and nature, calm and impetuosity, perfection and chaos, infinite and finite, subjectivity and vagueness of the place. His points of view, his places are double indeed. The images fit together, they are complementary but distinct. They are different though similar, each justified by the choice of the photographer who offers us a possible vision and asks us to look at that point of view without geographical references, without the conditioning of knowing where that place is, without the pretension of conducting a social inquiry.
If Wolf is a forerunner of Romanticism, Ceccardi is its successor: a game of retakes and exchanges, of opposite pairs rendered with the difference of vision. This work by Fabrizio Ceccardi starts deliberately from the realistic recording of places to come to idyllic and idealized visions: photographer’s inventions arising from his contemplation of nature.