Gallery Gherardi30 Senigallia – April 4, 2009
The distinction of the indistinct
The work of Nico Macina you have in the order of the loss and acquisition, its photos are located in a sort of limen between defined and indistinct. The portrait, ambiguously stands as an excuse because imaginal figure lost in a blur that sail significantly the characteristics of physiognomy, is opposed to a bottom perfectly delineated by an obsessive, as icy descriptiveness. The modus operandi of Macina is even thinner, as it translates into further action that leads back transaction undertaken at a level that covers most definitely epidermis camera. Figural text is then dissected in a sort of autopsy visual and conceptual, almost as if the artist overlaps various categories of seeing until the formation of a by-image accomplished, albeit seemingly incongruous. The portrait, he said, is the pretext and the text where the Macina, emotionally stressed and heated by the recruitment of models which also have friendly relations with the author. This “putting posing” creeps already a sort of larval deconstruction; the figures do not show through disclose focus of the details, but suggest their being through adopting of a sharp withdrawal of sharpness that puts them in a kind of limbo indistinct. The figures are in fact operating as huddled between two grids that are given as a dual picture modes: the background and the intervention of the surface. The background adopts an explicit principle of banality in the use of pre-printed decorative motifs, made even insinuating by focusing very careful and attentive in highlighting the texture of the material used. But there is precious visual, only a laconic statement of explicit front screen, against which the character stands out, almost as if this is some sort of visual clutter, with its shadowy presence, which closes the lively decorativeness background. The other intervention is appropriate to say, it has on the epidermal surface, chipping away at the figure itself in a sort of artificial alteration distracted photographic operations. So filaments, pressures, smudges, a whole set of errors and disturbances sort of statement of errors that normally should be avoided during the photographic process and printing film. The game is so declared, the skin of the photograph is deliberately polluted inserts seemingly random and incidental, which form a first visual epidermis. The figure is already on a plane back and aims his shadowy presence as intermediate screen, the background declared and displayed by a precise and trivial descriptiveness arises then as the deep layer of the image, declaring the aptitude markedly conceptual whole transaction. Is clear what is underlying the visual statement of Nico Macina, its workings image becomes metaphor of perception through the medium of the traditional perception to excellence, which the photograph with his supposed neutrality visual is often proposed. Its visual investigation plays then the card supposed to know, confusing the error evident with the intervention of expression and the lack of visual surplus sense in a kind of deconstruction that instead reconstructs significant new modes of photographic method.