Aimaproject | Research
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‘[…]I find the key to understanding only in some images where the reality is suspended or is a disturbing sospensive element. In this metaphysical dimension I find, now, consciously and uniquely the aim of my photography I understand that I am not dealing with an intuition for contrasts, but with an obsessive research of the presence in absence, and this in the saturation of reality present in black and white. Therefore, speaking of semantic poverty and of the metaphysic conception of the vision of reality, a clear contrast appears to me evident. It follows that the syntax is present in the maximum intensity of the whites and the blacks, but above all in the whites which exceed the peripheric limits, of those confines that necessarily make implosive the chain of elements. It is as if the chain of elements was guided by a mathematical principle, I try to find the formula which paradoxically is “non mathematical”: the absence, the simple atmosphere that leaves in suspense, the “as though something is going to happen”.
A mathematical principle governs the light; a metaphysical principle determines the final emotion. 
However this last element would not exist outside that precise form. One is dealing with a form that does not obey any mathematical principles, a form that does not belong to the totality of forms because its presence is recognisable only as a sensation The whole is simplified by the well known charateristic of photography which certifies that what is represented is true, it exists.’


My spiritual vision of the world and my perception of things as a whole could not be attracted by something such as the mystery of light, a usage of light that openly breaks down the doors on the next life and allows entry into the human soul. I understood how important it was to observe more the person to reveal the essence, to hear with the sight before seeing with the hearing. Anybody who carries with them a photograph of a person dear to them, carries with them not only the face, but also the soul of the person, and it is the soul that is to be found not in the superficiality of the photograph but in the profondity of the particularities that they carries with them. To express this with Georg Simmel. the representation of the face is the epitome of the soul and to express it with Bela Balazs:”[…]  the close-up must not communicate the state of the soul but the development of the soul and the face, taken in intensive terms concentrates the sense in what is manifested. If one is interested in the human being, it is necessary to be interested in the face. I search always to reflect the light in the eyes of the actors because I feel that the eyes are the mirror of the soul.”


LA PAROLA, Ordet (Carl Theodor Dreyer 1955)

(La fotografia di Gunnar Fischer  e la fotografia di Sven Nykvist a confronto)

LUCI D’INVERNO, Nattvardsgästerna
(Ingmar Bergman 1963)

PERSONA, Persona (Ingmar Bergman 1966)

SUSSURRI E GRIDA, Viskningar och rop
(Ingmar Bergman 1972)

IL FLAUTO MAGICO, Trollflöjten
(Ingmar Bergman 1975)

(Ingmar Bergman 1978)

FANNY E ALEXANDER, Fanny och Alexander
(Ingmar Bergman 1982)

SACRIFICIO, Offret (Andrej Tarkovskij 1986)

KRISTIN LAVRANSDATTER, Kristin Lavransdatter
(Liv Ullmann 1995)

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