PLUMB LINES 1
Fragments, close up particulars, frontal views, sumptuous images or fading details, Camilla Borghese’s photos regard exclusively architecture and follow thousand year old traces of a classic form that is repeated throughout the centuries. Her work could be defined as regarding a double “crossing”: the eye runs through time, along history, searching for the repetition of a classic language and its rules for proportions, harmony and symmetry, transiting in space to isolate small portions of cities and producing rigorous geometric intervals.
The enigmatic typographic symbol of perpendicularity (⊥) that often appears in the titles of the works together with the time and place speaks much of the photographer’s research, indicating time and space as the two dimensions within which the poetic of a glance more accustomed to the study of architecture than to the history of photography unwinds.
Through a meditated and analytical approach every building, or part of it, is isolated from the context, sometimes cut away, close up, observed from unusual angles in the search for the unfamiliar hidden by the inurement to the urban landscape induced by habit. Behind the immediate naturalness of the pictures there is always a meticulous artificial procedure.
Serena De Dominicis
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