PARAMETRIC PHOTOGRAPHY

Capable as it is of interpreting three-dimensionality with great expressiveness, photography nevertheless remains somewhat of a prisoner of a two-dimensionality from which over time it has often tried toescape.

To do so, it has found in artistic research a possible solution that would not be limited, as in the end case of stereo shots, to striking e ect.

Max Falsetta Spina, a young, multifaceted author, has moved along this line: from a training that led him to express himself in the field of applied scenography, he has arrived at the experimentation of profoundly innovative solutions,  nding sources of inspiration in the works of those who, from Umberto Boccioni to David Hockney, have creatively confronted the dimension of space. If the initial works focused on the technique of collage applied to portraits and on that of the multiplication of planes to obtain decomposed images of futuristic architecture, in more recent times the author has radicalized his research.

This has given rise to new works that we could call metaphotographic because they were born from the intention of a going beyond aimed at dialectically overcoming the traditional relationship between object and subject.

The sharp lines that de ne the perspectives enter into the heart of the image etch the surface of the photographic paper until they allow it to fold in on itself and open, like an unprecedented sculpture, to three-dimensionality.

Max Falsetta Spina induces a search for the pristine space concealed behind the image, and the viewer is confronted with a mirrored surface. It is this that reveals to him an ancient yet contemporary truth: every work exists in the awareness of the beholder.

Roberto Mutti