In a modern industrial world … (strike back, take it from the top) ...
In the modern post-industrial world of digital photography … (strike out) …
In a crisp sharp world of utterly focused imaging, does still exist the attenuated elegance of the abstract? And the oneiric, precarious balance of a fading contrast, can still hold its place among hyperrealist creations?
The answer is to be found (and lost again) in the two presented pictures of Corneliu. The shapes are the sole protagonists of his expressive work, but what these pictures really are about?
The approximation of the dream, the "almost" (le presque), can be dreadful according to R.Barthes. Nevertheless, we cannot deny that this very incompleteness can be photography's only hope to survive the lethal disorder created by the deluge of photographers and their digital captures of the obvious.
The "almost" of Corneliu's work cannot be explained in a short blog entry, as this one has been proposed to be. However, if we only let the pictures' child to guide us through his surroundings before and after his "placement", his posing for the sake of breaking the time continuum, then we may recognise that in fact these are our own childhood pictures. Our own stolen, granted or missed childhood, now only visible through these old prints, found in a box, pasted in an album, and then ignored over and over again in a Sisyphean struggle for resolving life and death.
More on Corneliu Sarion
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