Tra realtà e immaginario frammenti di ciò che è stato e ció che verrà
Opera di Jessica Adamo

An Essay On Earth Surface
- I deal with signs on purpose. I could do them on paper, in the sea, but they all would be wanted, therefore fakes. I'm interested in signs which man do unintentionally, but without let Earth die. Just then they have a meaning for me, they become emotions. At the bottom, taking pictures is like writing: a landscape is full of signs, symbols, wounds and hidden things. It's an unexplored language that we begin to read, to know when we start to love it, to photograph it. So, sign become voice: it explain something to me, it's just a spot to others. -

Mario Giacomelli
Mark, track, document, statement, proof are synonimous with the word “sign”. There is nothing unusual at all in the fact that signs allow us to communicate not only with other people, but also with the rest of sensitive, indiscernible and also immaterial reality.
Images take their forms from life and as life they bring with them marks from one world to another: that's a way to analyse facts.
My project comes up definitely from a careless sign: taking pictures of cinders left by unknown people after sunny days spent with family and friends. Monte Pellegrino's paths were the first stage: a traditional holiday sunday, when people from Palermo crowd mountain's woods all day long. I waited until their day ends to begin mine. I wanted to take possesion of their tracks and their days. I could also reconstruct their menu in detail: meat varieties- red meat, chicken, sausages- , low-cost snack, coffee and wine, sure, but also riopan (famous anti-acid) left by some gourmet!
Initially, I wanted to do a sort of classification or denunciation: the work focused on the traces that ironically I had identified in the piles of trash left behind where they were not supposed to be.
But the great thing about doing art is that you can change when you want, even along the way: thus, while I was looking my photos, cinders- seen from above- became moon craters and rubbish turned into constellations. Physical deplacement is sacrificed in favour of interior one: I have created, then, a signs' package: they describe an existing space and they are always explored by us, but they can be also something very different out of their usual context. To see is like to evoke: my photos ask to be enacted not understood; they are perceptions and sensations, documents of my thought. My photographies want to free infinitely possible images through unstudied associations.
My atlas has been completed by next stages ( Parco della Favorita, Isola delle Femmine's Beach ). I was also inspired by Luigi Ghirri: his project, Atlante (1973), is an essay of photographic reading. Ghirri located on an atlas' pages the place where every Earth's sign- from naturals to humans ones- are represented. Atlas' symbolical system is widely accepted on a conventional base far from indivivual approach. In spite of that, Ghirri grows close it as it was an every day object. He is free to read the Atlas like an image. The artist is a master of macro photography. Following Ghirri, I imagined powerfull zoom in the celestial sphere, particullary in the moon, and I gave to every of them real coordinates, as my dreamy trip was true. As black-and-white as the distance from forms' trurth derive from Mario Giacomelli. The photographer strolls off reality thanks to fantastic suggestions: in his photos we can see human faces whose meaning is not linked whit gesture and context. In this process, black-and-white are a guarantee because of their lack of realism in front of other colours can create a sense of detachment. Giacomelli's photographies come from natural shapelessl images and arrive to a figurative, stylised form, in opposition to Informale's photography who wants to get reality through art image.

"Part IX" by Jahzzar (

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