From the voluntary or involuntary arrest of the brain conscious activities, in other words by an apnea, emerge the images of the series In Deep Water. The reference is to an uncontrolled instinctive process, to a production of rough visual elements, irrational which follow one another continuously in front of the eyes and, in the constant necessity of logic, mostly ignored.
Dissolving and absolving from the duty to tell the reality, starting from its spectacular aesthetic evidence, In Deep Water works on his opposite: looking for ghosts, halos, amorphous wastes, residues of conscience, various fantastic material latent, diurnal and nocturnal.
In contact with his own transience, the functional image decomposes itself and begins to follow the connection to an instant with impunity. So the image escapes and loses the target: it is the one that appears for a moment only to the tail eye, irrational. As a metaphysical white rabbit disappearing into a tunnel, so are these shoots / fragments of a (no) infinitesimal time, expressed in their naked appearance.
Falling to dredge the visual backdrops, hooking terrors sediments, the feeling of emptiness, the enigmatic dimension impossible to decode: so the photography of In Deep Water (as well as a series, it could be a method) becomes the form of denial and repression of our nightmares.
Even if the dreams are represented like a natural fantastic act, not connoted, in a neutral appearance, (we are talking about electrical impulses that run / resort between conscious and unconscious, and they finish to be trapped in signs), the dreams are a subliminal tracks of an abyss, without providing neither solutions nor synthesis and is what make them scary. From this perspective, which is almost a half-sleep, you realize that there are a myriad of testimonies of what is exposed and tangible, much less of this kingdom such weak as to be almost nonexistent. The kingdom of hostile abstraction, full of signs, symbols and karst meanings, but also only some sensations difficult to explore.
Not by chance, looking at the photographs quickly, the lure is to a state of half-consciousness, or the so called moments: “I passed all my life ahead”.
It is never true that. Life pass us continuously in this unripe form but also hyper-substantial.
In Deep Water is the feeling of mortality from which we look away.
It is the ever-delayed meeting with the most inhospitable regions of the mind.
It is “a secret close to another secret” (Diane Arbus).
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