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Entro l’Esterno

Paolo Mazzanti

Cutting Through The Limits of Realism

by Victor De Circasia

To honour his land this photographer seems to search for origins, roots, beginnings that are gripped in the most romantic embrace of the landscape His search invariably leads him to an image which has been captured for centuries in countless paintings, prints and photographs; the Italian landscape.

Poetry, in photography is often controversial, but perhaps especially so when Mazzanti concentrates his interest on the detail of nature rather than the general wider view. Nevertheless, this exercise remains an attempt at a general overview with the allegory of the detail.

It came as a surprise when on my way to an encounter with the artist, I was warned by others that my reaction to his photographs should be spontaneous and instantaneous. The nature, the poetry and harmony of any landscape are engraved in our memories. The photographer may create an illusion but he also can destroy those memories. These memories are often perched at the edge of coherence or maybe just beyond our own personal orthodoxies.

These photographs cannot be undone by a superficial reading or by the lack of logic as the elements of Mazzanti's compositions are undoubtedly before us.

He nominally storms the body of photographs into great monuments with the authority of creating the hosts to a new view.

Mazzanti bestows his images with technical props, storytelling and sleight of hand. He goes on location to originate a scene, as it was one we were forbidden to dream about. The context and the devise of a new environment, stripping away a photographic illusion.

While he allows the spectator to be the master of his legacy he holds the keys to the essential resources.

The conflicting philosophy of an architectural approach to nature is the restoration of the beauty concept and its presence, in reality, a Tower of Babel in today's vocabulary. Daring works that fill me with more admiration than pleasure.

The hegemony of the photographs-artefacts, goes hand in hand with the idea of a monument that should be photographed at different angles. He photographs a structure with the intention of creating a different discourse outside the main complexity of the landscape itself.

An energetic exploration of nature remains one of the best challenges in the use of digital manipulation. He allows the technology to serve the story. The gathering of images moves from day to night, and with the aid of artificial (digital) lighting, the visuals begin to degrade, a disintegration that mirrors the slow breakdown of the image. This ambitious re-creation underscores the possibilities of digital photography and his individual approach.

The one-time dogma of refusing the new digital technology in photography was, nevertheless, often an ambition of most photographers, is made possible today and we can actually believe in the illusion of these images.

Mazzanti dominates the effort of safeguarding nature through the presence in his photographs. As a new challenge he stabilizes his work in an exquisite journey of nature and colour. This is especially true as he fearlessly, even recklessly pushes against the limits of narrative realism and dares us to take a leap of conceptual faith in the treatment of the landscape.

The focus of his appeal and eagerness remains in his fresh approach to create tension in the fragment as he tried to restore a glorious path to nature. In some photographs there comes a moment of truth when the images either scatter apart memories irreparably or bind them together like a dream.

In some photographs there comes a moment of truth when the images either scatter apart memories irreparably or bind them together like a dream.