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요즘 내가 집중하고 있는, 대상의 부분집합에 가까운.
뭣보다 색감을 잘 활용하고 있는 것이 좋아보인다. 말을 하다만 것같은 느낌은 있지만, 탄탄한 밀어붙임도 같이가고 있는 사진.
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Luigi Bussolati: AKH
Immense, cavernous grottoes filled with heavy, intestine-like piping. Damp, silent tunnels without any apparent beginning or end. Rocky caves which, illuminated by bluish beams of light, reveal bulldozers at rest, metal grating and dangling cables. Imposing industrial structures that instead of productively belching smog at a brisk rate stand quietly in a corner, as if waiting. No, this is not Jules Verne?/span>s center of the earth or some set of an actionpacked science-fiction film. Yet this is the feeling one gets, looking in amazement at the suggestive photos by Luigi Bussolati, born in Colorno in the province of Parma in 1963. These unfamiliar, mysterious, lunar landscapes that the photographer offers us are nothing more than the worksites of AEM in the Upper Valtellina Valley, strangely enough just a stone?/span>s throw away. Photographed in pitch-black using powerful floodlights that illuminate these gigantic structures. Bussolati?/span>s dams, gas pipelines and tunnels seem to jump out at us from nowhere, as if awakened suddenly by huge flashlights. Just like when the curtain rises and the lights go up and the scenery on stage takes on its monumental form, so here these formations of concrete, iron and rock scattered throughout the mountains of Lombardy leap out of the darkness of the night thanks to the ?span class=SpellE>illuminated?talent of this photographer who, clearly, has extensive experience in film, television and theater. His futuristic prototypes뾱ome of which resemble the famed hiding places of Spectre in James Bond films, while others the unsettling structures of a chemistry lab뾞re momentarily unveiled by the blinding light only to fall back immediately into the shadow of the unknown because within their equipment-filled bowels they harbor the secret of a futuristic strategic plan. Man is but a speck next to these miracles of thermo-hydroelectric engineering, yet he is ever-present in them through his work and art, whether seen in the rock carvings in the park in Grosio, the Viola Canal or Cancano Dam. The protagonists of his latest AKH book, Verso la luce (Towards the Light)?Akh being for the ancient Egyptians the luminous, life-generating force?these admirably-portrayed AEM worksites come alive through light. But it is a special kind of light, because the light Bussolati chooses to make his technological caverns visible has at least three qualities: it is Promethean because it is muscular power to its highest potential; it is engineering-based because it balances between angle-shots, shooting perspectives, calculations and relationships; and it is spiritual because it bathes the subject in a beneficent aura, transfiguring it and saving it from the surrounding black shadow. 밫he shapes, freed of their habitual use and functionality, seem to take on their own luminance. This metamorphosis always engenders in me an involuntary smile of surprise, very similar to that of my infant daughter when I turn a light on and off for her and things appear and disappear.?/span> The words of a doting father who has dedicated his book to his little Agata ?span class=SpellE>because she is the product of light?/span>. Despite the fact that the light has clearly won out over the shadowy abyss, the role of darkness is key in Bussolati?/span>s work because the black void is as expressive as the blazing light. ?span class=SpellE>Darkness, necessary and expected, makes the going more insecure because points of reference are futile. Accompanying me on the threshold is a sense of suspension, of uncertainty and, generally, the choice is between giving into the fear or daring to welcome the unknown and mystery as a new possibility. Often I turned back, while other times I began again from that very point.?/span> In other words, his journey begins from the absence of light but then, thanks to that light, reaches its conclusion. Light is a metaphor for the path, the right path, to be followed in life. Luigi Bussolati trusts in this as the 뱊eed and atavistic promise for clarity and consciousness?and he plays homage to these by playing with floodlights deep into the night until dawn begins to slowly absorb the intensity of his lights.
by Cristina Franzoni
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