.Curation of the section and author of the text and interview for DOC!Photo Magazine, Section Contra DOC!, Fabian Albertini, Bianco Deserto; vol.Q3, Issue: #38, ISSN: 2299-2855
Format: 235×320 mm
Number of pages: 220
Number of photographs: 172
Editor-in-chief: Grzegorz Kosmala
Design: Aneta Kowalczyk
Photo post-processing: Aneta Kowalczyk
Printing: Argraf, Warsaw (Poland)
Publisher: BLOW UP PRESS
Fabian Albertini has dedicated her life to photography and she is now approaching a new perspective choosing to explore a new bend located between her special use of the camera, painting interventions and art installation, experimenting with new techniques and media. Looking for a multidimensional rendering, she matches photography and different materials creating artworks characterised by a special fascination. In her latest works the artist is locating an alternate visual depiction by crossing the borders of the printed photography. In the Bianco Deserto series, her achievement to remelt herself with the nature is setting her approach free to compare different media while producing her series of works. Through the depth of field and by observing the space, she aims to get closer to a deeper encounter between content and meaning. The result is a lyric poem of landscapes enriched by the use of material such as concrete converted as a new tool to explore the different texture of an object. Fabian is actually creating a new bi-dimensional rendering of her works.
While constantly representing mesmerised parameters of the natural scenery, she is not outlining the boundaries anymore. The photographer is leading the spectator to grasp a deeper bond with the content, focusing on the oscillations of the forms.
The shutter opens and starts the capture of images translating the light, shadows and shapes with a wider and strong perspective. In this series every detail represents a turning page which is leading the viewer to observe a hypnotic landscape, coherent and smooth in terms of form, enriched in terms of research about depth and content.
This meaningful research led the artist – perceiving herself as a pioneer – to a deeper consciousness of her work. Going back to the use of the white as achromatic non-colour, she craves to reach a sheer rendering, above and behind our reality perceived
– for the artist – as currently overloaded by visual information, images and colours. Extinguishing the use of colours, getting back to the purest variations of the light and to a mono/non-chromatic choice, Fabian aims to grasp the visual borders between photography and painting. Crossing them and developing them at the same moment.
By using such material as concrete, while working in post production on her photography, she is unraveling the internal borders between two media, discovering a multifarious portrayal of her landscapes. Her research about light and shadows delivers her mesmerised sight to capture the shapes and perspectives, evaluating surroundings, forms and panoramas. Fabian translates for the viewer a poetic dimensions in a time lapse portraiture of the scenarios. The evocative result is delicate as much as powerful, a renewed beauty translated in an awe-inspiring sight. In her research she is emerging as exegete of a deeper perspective, of a precise sight which is about atmospheres, visual contrasts and poetry. The artist is an aware witness of light, space and meaning. In her production she is representing a cross-talk between evident and intangible. As suspended in an alternate state of perception, the details she is choosing to depict are getting the main role representing a wider and delicate interpretation of phenomena, conveying the awe of the moment.
The Bianco Deserto (eng. White Desert) represents the latest research of Fabian: her new approach to photography and to the different materials she is using in post production. Sensing our surrounding as an unescapable and invasive jungle of concrete, the artist aims to re-evaluate the material. The concrete is turning into the new media, a tool, a colour which is an enrichment to the visual value as well as the conceptual strength of the series.
Chiara Valci Mazzara