“Sublime: that which transcends the human; divine; of a radiant beauty, magnificent; grandiosity, power, incomparable force.”
This series collects photographs taken in places I consider sublime for their elegance, their grandeur, their reverence to what is greater than man, bathed in the swelling sunlight that makes everything look precious.
The sun has a central role in this series, exploding amidst the forest, distilled in the crystalline layers of the lens, revealing its almost tangible rays upon the dry bark.
They are pictures of rapturous landscapes that seem to reject any human interference, to exclude the road, the building and the ruins. For being so immaculate, they come close to the essence of what is sublime. However, despite the lack of human presence, the unsuspecting viewer of this series may not realize its hidden subject.
“For if there is one specific problem in the issue of the landscape as a subject in art that bestows it value and meaning at once, it is that, unlike anything else, the image of the landscape contains the special (deceptive) sense of directing the gaze to a fidelity trap. Upon gazing at a landscape photograph – or even painting – we want to believe that it is a window that opens up for the stark truth. As such, we negate the image in favor of an illusion, as it is strictly the gaze that builds the landscape. Not until later will the hand and the instrument be able to crystallize it into a medium. The locus is not here: it is there. What we see here, in each of the photographs, is the artist himself, through his gaze. The photographed spaces, therefore, are never empty.” (Ralph Gehre)