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Photography: Environmental, Color, Lights, Textile, Fabric on Canvas, Paper, Wood, Other, Soft (Yarn, Cotton, Fabric).
Landscape at the time of globalization
In “artificial climate,” I collect one of my investigations of the swimming pool as an artificial climate. In particular, I elaborate on the varying relationship of water and space that is often hidden behind the times when such facility is normally accessible. The series is indeed taken when the pool undergoes annual maintenance, and the process of water refilling happens. Without artificial lights on, the pictures are intentionally overexposed in order to capture the varying intensity of luminosity and atmospheric humidity along this process, thus greatly reducing the color range of the image and abstracting it. The aims is to capture the changes of the interior weather as an example of the impact of climate over the visual experience of space and landscape.
Climate, from ancient Greek klima, meaning inclination, is commonly defined as the weather averaged over a long period. Over historical time spans there are a number of nearly constant variables that define climate -such as plate tectonics, that takes over millions of years to process- other variables are more dynamic and greatly depend on the globalized human activity, which can inform changes faster than a decade.
That said, the difference between climate and weather is well summarized by the popular phrase “climate is what you expect, weather is what you get.” At the same time, if weather is what every day we have to deal with, it is climate that defines the growth and development of any living being, both animal and vegetal. In other words, climate defines the landscape.
In the light of all this, climate offers a critical point of view on the landscape at the time of globalization. This is due to three reasons. The first is because landscapes are disappearing due to climate change. So, it is time for us to picture and document fading landscapes as the expression of an old climate. Secondly, today we can technically reproduce climate in botanical gardens and other leisure or educative facilities, and we make flora and fauna to travel around the globe. So, since landscape can be manipulated, reorganized, subjectively represented, we should develop a sensibility to the appearance of the climate, as well as its technical determinants and infrastructure. The third is that climate is within the materiality of the air, that traps the light and greatly defines the visual quality of the landscape.
Thus, it is climate, instead of landscape, that is at the center of my photographic work at the time of globalization, and these three reasons substantiate the main directions of my work.
This series is exhibited by three-dimensional installations of rice paper or textile, where the images are printed on. The installation brings the image back into the environment, capturing the materiality of light and shadow, which becomes a part of the artwork itself.
The installation was first exhibited in Tokyo and Osaka in 2017.