Carolina Sartori’s Echoes series encapsulates, through its simple presence and curious ambiguity, almost everything we could ever say about shades.

“Return to the Sun of Nothing” is a project born on the legacy of more than one year of confinement, a visual transposition of the void and its spatial consequences. The infinite reflection of a sound, as well as the repeti- tion of apparently always the same days, leaves behind an absolute silence that these places seem to enclose.

The series abandons the statements of ‘decisive mo- ments’, the analysis of language in and of itself, the concept of an all-consuming idea, the emotion of the poet, the er- udite quotation, the search for a new aesthetic creed, the use of a style.

The duty is to see with clarity leaving any attempt of appropriation.
A focus on the unassuming fragments of contemporary conditions real and represented in our cities towards the definition of urbanity and its opposite.
The boundaries of the visible are pushed to reveal al- ternative panorama, questioning our role in the inhabited world. In this emptiness, through the gaze, we can find our understanding of space.

A field of grass, a sequence of modernist towers, a cave, a hole, every picture appears without content, maybe too wistful if not too gloomy, but what remains is this floating sense of stillness: space. It is without content, but surely not without intentions.

Still, what Carolina Sartori wants to say is never about photography, but rather about the relationship we have with elements, objects, architecture and (micro) landscapes. It is not so much another comment on the world we inhabit, but rather the development of a toolbox to deal with the world as a whole.

The main tools she introduces are distance and familiarity. She uses distance to neutralize the subjective gesture of framing, leaving to the observer the articulated task of interpretation: the series is a visual stimulation for our own experience - we see what we are (W. Blake) and we are what we see (R. W. Emerson).

The photographer does not document but collects elements, and lists a set of possible members of a family of things: a picture can refer to another one.
This power of association is a direct translation of the way in which any tool,
any element of cultural production is always rooted, both in the culture of the world and the world itself.
Distance and association make a completely coherent world where each element refers to the next. Nothing is a discovery, but a materialization of something already latently there.

Far from seeking a sense of nostalgia, these photographs are a claim of emptiness as full, filled by the imagination of a different future: a common shade.

(text by Mattia Chinellato)

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