Exploring these areas on foot allowed the artist to photograph marginal spaces, different from those we live in and observe each day, where the human time we know is set against immeasurable geological time. The absence of human-scale landmarks, the absence of any human characteristics, but also the pictorial textures, colors, and light, raise many questions regarding the nature of images, represented landscapes, and our relation to landscapes and representations of them.
Experiencing the “landscape as territory” on foot is a way of forming a special relationship with the land. Each step serves as a metronome and gives the place a temporal dimension. It sets the rhythm, hones one’s concentration and attentive eye. A few months after his return, the artist took up the slow and painstaking task of retouching and printing, which begins a second immersion—into the “landscape as image.” From there, by reworking the image, he brings out certain details, certain materials, textures, and colors of the landscape; in this way, the artist completes and amplifies the compositional work begun while shooting by cutting the same area into small sequences in medium format (square format). Little by little, the artist put together series of diptychs, triptychs, and single images. If one part turns out to be missing, then the entire sequence must be reconstructed; otherwise the series would lose its meaning.
This photographic process, divided into two complementary periods, sets the tempo and shapes the artist’s sensitive approach to reality and how to represent it. The photo series brought back from Spitsenberg are the result of work that brings together, by turns, what one actually sees and our memories of the places.