“Death of an image
When things become hot or very cold they change.
Sometimes it happens in such a radical way that it is no longer possible to recognize them. They change so much that, by just looking, there is nothing that would enable us to recognize their original molecular structure. At the same time, beyond 780 nm, the threshold of the visible spectrum, the human eye is plunged into darkness, a cosmic darkness in which the electromagnetic waves transmitted by objects are imperceptible.
Death of an Image is an attempt to cross a boundary, the desperate need to cancel something out in order to rebuild it.
Objects, placed within the area of the shot according to precise perspectival hierarchies, generate their own absence, exposing hiatuses in the landscape, cloaking it, transforming the subjects. They are physical subtractions repeated in space, calibrated violence that triggers a process of the image’s resurrection. They are precarious interventions, light superstructures that interfere, doubling the visual epicentre.”
Death of an image #5
C-print mounted on aluminum dibond, wood white frame, 108 x 146 cm // 42.5 x 57.5 inches
Death of an image #12
C-print mounted on aluminum dibond, 128 x 180 cm // 50.4 x 70.9 inches, framed
C-print on aluminum dibond, wood white frame, 100 x 155 cm // 39.4 x 61 inches
“The Intelligence of Evil
The Intelligence of Evil project documents a series of actions the artist produced using military grade smoke bombs while working in the mountainous regions of Austria, Switzerland and Italy. Intelligence of Evil #5 and #6 are portraits of the artist’s father, taken on the Val Senales glacier at an altitude of about 2800 meters. In these images, the black smoke envelops his body and his disappearance is frozen in time. The dense smoke penetrates and fractures the white landscape, thereby transforming the natural surrounding beauty and altering the perceived of the depth of field.”
The Intelligence of Evil #5
C-print mounted on aluminum dibond 90 x 100 cm // 35.5 x 39 inches
View more of Andrea’s work here