Massimo Bignardi
The series of photographic prints fixed on an aluminum Dibond, from the title “Naturally looks”, which started five years ago, in 2011, is expressed like a process of a conscious and established abstraction, where in addition to the motives of a circular sign closing on itself, an imaginary prefiguration of a “eye” of the nature is observed – in its multiplicity of variations – that sees, observes, or better from which the artist feels observed. Those are “transversal” looks that cross each other on trajectories which are dictated by the sensitivity contained in a minimum fraction of time, to the point in which the reflection captures the reality, the realism of such images. Those images also declare the attention to observation processes, meaning the capacity that the eye has to reveal the looks that nature gives to the world, allowing us to enter in a process of change, metamorphosis. Starting from a painting perspective – because the works that give life to the “Naturally looks” cycle are actually conceived like a densely colored paintings – it looks like Ambrosino has internalized the thinking of Ferdinando Scianna when it comes to the process and gestures that the photograph carries out, with which he “chooses a piece of the world, a piece of experience, and decides in which moment to register the trace”. A choice which is based on the assumption that “cerebral processes that have to do with images are determined by the development of the conscience as well as identity”.
