Artificial Infinite

 

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.

Chamonix, 2016, Inyección de tinta, 315 x 150 cm, Ed. 3 + 2 PA

Dolomiti #01, 2014, Inyección de tinta, 194 x 150 cm, Ed. 3 + 2 PA

Campanille Basso, 2014, Inyección de tinta, 150 x 183 cm, Ed. 3 + 2 PA

Macizo de Sella, 2014, Inyección de tinta, 182 x 150 cm, Ed. 3 + 2 PA

Macizo de Rosengarten, 2014, Inyección de tinta, 181 x 150 cm, Ed. 3 + 2 PA

Valle de Ordesa, 2013, Inyección de tinta, 150 x 181 cm, Ed. 3 + 2 PA

Monte Cristallo, 2014, Inyección de tinta, 194 x 150 cm, Ed. 3 + 2 PA

Monte Perdido, 2016, Inyección de tinta, 200 x 150 cm, Ed. 3 + 2 PA

Zermatt, 2016, Inyección de tinta, 189 x 150 cm, Ed. 3 + 2 PA

Fitz Roy, 2014, Inyección de tinta, 194 x 150 cm, Ed. 3 + 2 PA

Dolomiti #07, 2016, Inyección de tinta, 150 x 199 cm, Ed. 3 + 2 PA

Dolomiti #05, 2014, Inyección de tinta, 150 x 196 cm, Ed. 3 + 2 PA

Macizo de Brenta, 2014, Inyección de tinta, 150 x 182 cm, Ed. 3 + 2 PA

Mont Blanc #02, 2016, Inyección de tinta, 150 x 194 cm, Ed. 3 + 2 PA

Glaciares, 2014, Inyección de tinta, 300 x 187 cm, Ed. 3 + 2 PA

Parque Nacional de los Glaciares #02, 2016, Inyección de tinta, 191 x 150 cm, Ed. 3 + 2 PA

Perito Moreno, 2016, Inyección de tinta, 150 x 188 cm, Ed. 3 + 2 PA

Dolomiti #10, 2016, Inyección de tinta, 184 x 150 cm, Ed. 3 + 2 PA

Dolomiti #08, 2016, Inyección de tinta, 150 x 192 cm, Ed. 3 + 2 PA

Dolomiti #02, 2014, Inyección de tinta, 176 x 150 cm, Ed. 3 + 2 PA

Macizo de Brenta #02, 2016, Inyección de tinta, 219 x 150 cm, Ed. 3 + 2 PA

Dolomiti #12, 2016, Inyección de tinta, 200 x 150 cm, Ed. 3 + 2 PA

Monte Patterno, 2014, Inyección de tinta, 189 x 150 cm, Ed. 3 + 2 PA

Macizo de Misurina, 2014, Inyección de tinta, 185 x 150 cm, Ed. 3 + 2 PA

Dolomiti #11, 2016, Inyección de tinta, 189 x 150 cm, Ed. 3 + 2 PA

Dolomiti #06, 2016, Inyección de tinta, 150 x 193 cm, Ed. 3 + 2 PA

Sesto, 2014, Inyección de tinta, 195 x 150 cm, Ed. 3 + 2 PA

San Martino di Castrozza, 2016, Inyección de tinta, 150 x 188 cm, Ed. 3 + 2 PA

Dolomiti #09, 2016, Inyección de tinta, 219 x 150 cm, Ed. 3 + 2 PA

Mont Blanc #01, 2016, Inyección de tinta, 150 x 184 cm, Ed. 3 + 2 PA

Artificial Infinite Book

 

Cuaderno de la Kursala Nº 62, University of Cadiz, curated by Jesús Micó, with the collaboration of the University of Navarra Museum and La Fábrica Publishing House.

Size closed: 280 x 400 mm, 64 pages, tritone print, edition of 1,500 copies.