primeval

This text defines the concept of primeval photography, intended as that of the origins, in its original and virgin condition.

It is a speculative analysis that applies the following method:

by means of an extreme synthesis of the primary elements that form an image that are light, texture, geometrical composition of lines and curves, colours we can obtain a cross-section of reality. It is thanks to this process that cleans and highlights these elements, which consequently become absolute categories, that we obtain the required operational tools for identifying this part of Everything.
Thus we are able to carry out an anatomical survey of the Being.

We will obtain a recognisable slide, chosen thanks to the balance of the by now purified elements that form and delineate it, that we will be able to analyse as if under the lens of a speculative microscope.

We will finally have the occasion to dwell on the real nature of what we see.

Light will finally be seized, observed and loved in its purity, as light is the origin and the goal of the photographic process.

The texture, the surface, the unevenness or uniformity of the illuminated material, which is brought to life, follow suit.
The lines and shapes that complete our picture, our section of study, divide, bind and define space.

The colours, chosen by the light, will be defined by the composition of the geometries so as to capture the primeval essence of their being.

Thus the absolute instant shall be obtained.

And thus photography shall regain its true soul: the divine breath of light.

The meaning of all the different compositional elements will be restored and we will obtain an orderly fusion of all parts.

Thanks to this process we will once and for all sever the link between the image of the portrayed item and its definition, that was and is a prison imposed to photography since its origins, since the first preserved ray of light. Preserved and not captured, as it is generally mistakenly said. In origin photography did not capture, it welcomed and preserved the breath of light.

But it was photography itself that was captured and imprisoned when it was understood that this gift could be used to obtain faithful reproductions of reality.

And since then it has been tethered to reality.

This Gordian knot has become inextricable with the passing of time. This process of enslavement made use of the very elements of the visual composition as ropes to tie this knot, deviating its true meaning, and the error lies on these knots.

The time has come to cut through these knots, loosening the ropes and cleansing the elements to restore their primeval aspect.

At long last understanding their value and importance, so as to weave them together in an orderly and balanced manner.

Only then we will be able to understand what light has to say to us.