Waiting for the photo gallery and a more detailed report, there it is a little animation showing us inside the infinite cube city.

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Mehrdad Naraghi is an Iranian young photographer that I discovered the last year during the exhibition Photo Quai. I was immediately fascinated by his photographs of the city at night, dark, confused, where trees seem skeletal hands towards the sky and windows empty eyes.

As a consequence I contacted him, proposing an interview. I like the idea of giving space on Camera Obscura to a photographer who, at least in my imagination, comes from so far, I like the idea that the causality of a meeting with his images on the bridge of Paris, at the end produces this article.

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Last week I finally put online some files of the photos infinite palaces and buildings from my series of repetitive elements. Photos on which I worked for more than one year and that I have repeatedly cited writing on this blog. At the same time I published on Camera Obscura a brochure showing one of the installations that can be made starting from these giant photographs of buildings.

This is Infinite Cube City (pdf, 2.0Mb), a cube of 3m where the walls are built precisely using a photo of the series: the palace near Place d’Italie

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Dorothy Simpson Krause is an American artist who works mainly with collage, combining traditional materials with digital techniques.

She is not a photographer, but she makes intensive use of photography in her collage. Typically her work would be considered non-photographic, and classified under some form of visual art but not “Photography”. For a long time I have been tried to convince photographers that the border between photographic image and other visual arts is not as sharp and it is not easy to determine what photography is and what is not. Indeed, the question itself has no real sense, because photography is an ambiguous media, photography is actually a term commonly used to group practices also substantially different between them. For this reason I’m happy to have on Camera Obscura such an artist, that move the border of photo art.

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Ruud van Empel is a photographer who obtains its images pasting together many different photographies, obtaining huge collages that however mantain a very photorealistic look. In this way Ruud van Empel recreates the dreamy and colorful world of his imagination, a northern or tropical forests, surreal offices, where he places his environmental portraits.

Although the issues addressed are very different, as the aesthetic impact, Ruud van Empel has an approach that particularly interests me, because I’m currently exploring similar opportunity, trying to take the best of the digital tools available today. Photocollage is one of the most powerful and interesting of these instruments. For this reason I have contacted him and we had the opportunity to exchange a few words about his work.

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