UNDERGROUND by Davide Catullo
" ... We need to focus a beam of intense darkness , so that what seemed to glow in the dark lighting can shine in the darkness ." W. Bion
The photographs in this work are born in an underground place , for the most obscure and especially perceptible only " in passing " (or " with the corner of eye" thinking about the lesson of Marina Ballo Charmet ) , the tunnels where run the subway trains. Here camouflaged raw materials are in an enigmatic way in front of our eyes becoming a metaphor for the layers of our experience that risk to escape from our consciousness in contemporary living.
These pictures will be a reflection on the way we perceive reality, by focusing on something that we cross without awareness.
IN THE GROUND, UNDER THE TRAFFIC, WAITS by Davide Catullo
Around me burst out all its energy,
the way that remembers nothing and nothing will.
In the ground, under the traffic, waits
The forest unborn motionless for a thousand years. (T. Transtromer)
In this work I try to talk about a "buried" done of nature and origin with which
the vital link seems to be extremely difficult and intermittent.
The photographs of this work arise from construction sites into the urban
fabric, in my point of view this is an opportunity and revealing metaphor to talk
about other things.
Environmental and existential changes occurred, in which man has broken
the cyclicality that is the basis of what is natural.
Internal movements present in moments of crisis and traumatic changes,
seen as something that, making painfully resurface emotional forces
groundwater and archaic, animate ghosts of possible catastrophic failures.
Series I: 'There is a Dark God'.
The frst series investgates a series of questons:
What are the consequences of the rampant tendency towards clarifying
ratonalisaton? Where have we relegated the mysterious, the immaterial, the
spiritual? What is the price of avoiding the dismay associated with confrontng
the unknown?
The dark, blackened sacred paintngs and confessionals are intended to evoke
these questons.
The darkness of these images refers to the unconscious, to the litle known and
to that "misterium tremendum" (Oto Rudolf) which is the "mystery of the
unknown". (Oto Rudolf), which is the sacred net of the apparatus and rules of
religion.
The images are made in large analogue format through long exposures.
Series II: 'A drachma of light'.
"I have been to Rome. Flooded with light. How
a fragment can only dream! A golden drachma
Of gold remained above my belt.
Enough for the whole length of darkness."
(J. Brodsky)
The images of the second series represent another side of the theme developed
in the frst series. In these analogue black-and-white images taken using optcs
without ant-refecton treatment, the light emits its glow without too much
control. The setng is always that of sacred places. The idea is that antquated
technical means capture something diferent than those that replaced them. In
their imperfect control of light, these images have their own peculiarity. If in the
previous series the relatonship with a numinous darkness was represented, in
this series it is the blinding, the milky burnt halo of the images that speaks of
how, in order to see certain aspects of reality, it is necessary to accept that we
cannot see everything in detail and how the atempt to describe things in detail
can paradoxically make us lose something.
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