Artificial Infinite<<< Back

Dolomiti #1, 2014, Inkjet print, 194 x 150 cm, Ed. 3 + 2 AP

Brenta Massif, 2014, Inkjet print, 150 x 182 cm, Ed. 3 + 2 AP

Misurina Massif, 2014, Inkjet print, 185 x 150 cm, Ed. 3 + 2 AP

Sesto, 2014, Inkjet print, 195 x 150 cm, Ed. 3 + 2 AP

Fitz Roy, 2014, Inkjet print, 194 x 150 cm, Ed. 3 + 2 AP

Dolomiti #5, 2014, Inkjet print, 150 x 196 cm, Ed. 3 + 2 AP

Ordesa Valley, 2013, Inkjet print, 150 x 181 cm, Ed. 3 + 2 AP

Picos de Europa, 2013, Inkjet print, 153 x 126 cm, Ed. 3 + 2 AP

Monte Patterno, 2014, Inkjet print, 189 x 150 cm, Ed. 3 + 2 AP

Dolomiti #2, 2014, Inkjet print, 176 x 150 cm, Ed. 3 + 2 AP

Dolomiti #3, 2014, Inkjet print, 150 x 181 cm, Ed. 3 + 2 AP

Parque Nacional de los Glaciares, 2014, Inkjet print, 194 x 150 cm, Ed. 3 + 2 AP

Rosengarten Massif, 2014, Inkjet print, 181 x 150 cm, Ed. 3 + 2 AP

Monte Cristallo, 2014, Inkjet print, 194 x 150 cm, Ed. 3 + 2 AP

Campanille Basso, 2014, Inkjet print, 150 x 183 cm, Ed. 3 + 2 AP

Macizo de Sella, 2014, Inkjet print, 182 x 150 cm, Ed. 3 + 2 AP

Dolomiti #4, 2014, Inkjet print, 150 x 185 cm, Ed. 3 + 2 AP

Glaciers, 2014, Inkjet print, 300 x 187 cm, Ed. 3 + 2 AP

Artificial Infinite is a photographical enquiry on the aesthetical status of the sublime, which is represented as a controlled fear that attracts the soul, present in qualities like the immensity, infinity, emptiness, loneliness, or silence. Maselli offers steep mountain ranges whose semi-darkness, profusion, depth and height come together as the visual achievement of what we may call “the terrifying sublime,” what causes a vortex that disrupts the illusion of security of our everyday regulated and orderly existence.

The works included in this series are not constituted by shots taken directly from reality but, instead, they offer landscapes that were recreated through a complex photographic staging, where Maselli highlights, through different techniques such as fragmentation, repetition, proliferation and superposition, the magnificence of the mountain ranges that he had previously photographed from nature. Employing this technical and formal strategy, Maselli points at the appeal of the unassailable, the cravings that humans hold for the unknown strongholds of nature. This recreations, that pursue the bewilderment of the sublime, embrace at the same time, what seems to become still, and since the eighties, the vehicular concern of contemporary photographic discourse: the elucidation of the boundaries between reality and its representation.

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