Vitali’s imagination has that rare wisdom to be able to grasp widespread feelings, memories and collective situations, never didactic bits of habits that create rituals we all know and feel deeply. Inside those photos, so complex as to appear simple as windows open onto the landscape, there is something about us, about our memories but also about our desire for the future, freedom and beauty.

Vitali’s photography generates a sense of belonging while expressing his choreographic estrangement, his own metaphysics with a cinematic flavor and anthropological awareness. Everything is absolutely real, yet the beaches appear as a meticulously directed set, arisen from sequences in which the extras share in the creation, without anyone taking the center of the stage, without a perspective privileging the near over the distant. It is the game of gazes: and Vitali wins with that rare ability to manage the spontaneous cycle of events, grasping the invisible trajectories that draw relationships and measures of collective spaces.

The artist is a silent eye looking at the world with discipline and patience, following an approach that reminds us of Werner Herzog, of those docufilms in which the German author challenged natural rites with a mimesis that adhered to the cyclical nature of the landscape. For Vitali the long wait means orchestrating the human threads of a choreographic plot, a silent entropy that the artist alone can calibrate, managing the instant of the shot, that hypnotic moment in which everything seems aligned with the balance of harmonic codes.

Vitali’s photography gains an iconic strength like that of Canaletto’s Venetian landscape painting, integrated with a technological push in which metaphysical hyperrealism arises from the holistic control of the aesthetic components. Every image is a perspective telescope that contains multiple depths of field, a masterful challenge to the photographic waste of smartphones, a sort of evocative counter-trend that concentrates the maximum of technical potential in a single semantic shot.

Gianluca Marziani, "Massimo Vitali. Stessa spiaggia stesso mare" in ArteIn, June - July 2021, pp. 44-46.