serie Monocromo Charta _Scalp cns1
CHARTA MONOCHROMES
Taking to the extreme limit the photographic informal described as "material", the photograph is scratched and scratched until the almost total if not total disappearance of the upper (photographic) chromature.
The overlaying photograph vanishes bit by bit until it disappears completely, leaving not emptiness, which would be a sort of spatialism, but the bare base as it was created, which in this case is quite simply paper, or rather CHARTA, from Latin, which is the foundation of the Italian language. Indeed the foundation is the real base without which the photograph would not have been visible, and thus laid bare it takes on its proper role and takes centre stage, accompanied by a totally invasive and visible material-ness given by the scratched paper. It takes on its rightful importance, becomes what it has always been – indispensable. This is not a return to zero but liberation from a burden that was becoming increasingly oppressive. Not the first degree of visibility but the second; not the (apparent) leading role but the support; not the actor but the director; not the infinite but the finite, a wall that stands before us, full of life and historical (and photographic) residues, memories of a past that resurfaces, that becomes a participant in a perhaps somewhat forgetful present; not a concept but brute reality. The scratching, and therefore the erasure of the photographic chromature may take on various levels of penetrability and compactness, giving rise to infinite variations, infinite conceptual stages, to enable each of us to stop and perhaps to reflect, even if only in a temporal sense, on various levels of comprehensibility, not only of ourselves but of others too.
Silvio Balestra © Copyright
Taking to the extreme limit the photographic informal described as "material", the photograph is scratched and scratched until the almost total if not total disappearance of the upper (photographic) chromature.
The overlaying photograph vanishes bit by bit until it disappears completely, leaving not emptiness, which would be a sort of spatialism, but the bare base as it was created, which in this case is quite simply paper, or rather CHARTA, from Latin, which is the foundation of the Italian language. Indeed the foundation is the real base without which the photograph would not have been visible, and thus laid bare it takes on its proper role and takes centre stage, accompanied by a totally invasive and visible material-ness given by the scratched paper. It takes on its rightful importance, becomes what it has always been – indispensable. This is not a return to zero but liberation from a burden that was becoming increasingly oppressive. Not the first degree of visibility but the second; not the (apparent) leading role but the support; not the actor but the director; not the infinite but the finite, a wall that stands before us, full of life and historical (and photographic) residues, memories of a past that resurfaces, that becomes a participant in a perhaps somewhat forgetful present; not a concept but brute reality. The scratching, and therefore the erasure of the photographic chromature may take on various levels of penetrability and compactness, giving rise to infinite variations, infinite conceptual stages, to enable each of us to stop and perhaps to reflect, even if only in a temporal sense, on various levels of comprehensibility, not only of ourselves but of others too.
Silvio Balestra © Copyright
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