[A – stràt – to]

[A – stràt – to]

Simplicity, rigour, minimalism, geometry and abstraction. The photography projects achieved by Luca Cacioli over the years, although being distinct from each other, share the same research matrix: the shape. Not to be understood as a means to exploit expression, but as expression itself.

From his first work “Confini” to “La Nuvola”, not forgetting “Surrealismo”, “Notturni urbani”, “Details” and “[A – Strat -to]”, what comes out is an orderly path that tends to subtraction. This, not so much in terms of quantity, but rather by showing realistic elements in a context detached from reality, not only as a pure transposition of an object from nature. The photographer indeed is not only increasingly attracted to urban and industrial architecture. He does observe and analyse elements, highlighting the less realistic and figurative side, and therefore, more properly expressed, the abstract side. In [A – STRAT – to] he is no longer interested in composing a well built image (Surrealismo) or in cutting spaces and structures, enhancing geometries (Notturni Urbani) and not even in focusing on specific details (Details). He now aims to put into light every detail of the surface, featuring mostly the texture. Colour, substance and all physical components substance is made of, lines, every millimetric element is fixed instead of the captured object. This project revolves around the observation and the obsessive adjustment of the selected item, which loses its status as item thanks to the picture itself. Going back to “Confini”, you cannot avoid dwelling on some connections: human and artificial elements, which stood in the past between man and landscape, play today the lead role, up to being explored in their consistency and development areas. Unusual is the freedom of reading and consequently of imaging that the photographer grants the looker through this series: both orientation and image are a prerogative of the observer. Solid forms that fill up eyes through the negation of the unessential and of the straight and immediate individuation of the the photographed shape. They have a physical perimeter on paper, but do not have real borders: they extend beyond the frame. This way the movement is twofold: deep into the matter, multidirectional on the surface. The process that they determine does not pertain to any questions as to the essence of the object, but mostly lead to an attitude of protracted contemplation.

Tiziana Tommei