Pienovuoto

Time seems to stand still and life is expressed in a metaphysical language that seems to abolish any pretence at documentation, favouring an iconic vision drained of anything relative or contingent. In fact, his extremely gelid and crystallised world appears as though suspended in a movie still. Never are there any details that could identify current historical events, except for the titles which, at times, refer to crowded gatherings or entertaining evenings at the disco.

His work comes across as a consequence of a period of “enlightenment”, a record of places that, beyond their geographical, landscape or atmospheric interest, are immortalised for what they are and “captured” by an icy and meticulous eye for quantity of detail illustrated to the point of paroxysm. Buildings are rendered with all their identity and architectural physicality; the mountains are photographed however impossible, down to the last rock and lichee; the beaches and sand dunes, softened by the reflections and shadows, are perceptible up to the horizon. Like Canaletto and much of 18th-century painting, his eye captures every detail and transfers it to photographic paper in a realistic and analytical way.