The photographic work of Fernando Maselli explores different aspects of the formalism, deepening the aesthetic and concept as core values. The main focus of his current research revolves around the concept of the Sublime, the restrained fear to the beauty of the rugged landscape. His work is a solitary journey into the vastness with constant references to classical painting, literature, philosophy and aesthetics. Born in Buenos Aires in 1978, he studied Fine Arts and later moved to Madrid where he continues his artistic career. His work has been awarded in numerous calls including the SPD - Society of Publication Designers (New York), W-CA Contemporary Landscape Photography Open (UK), Youth Arts Award from the Complutense University (Spain), ITAÚ Fine Arts Award (Argentina), 13th Mostra Internacional Gas Natural Fenosa (Spain). His work has been selected to participate in the Copenhagen Photo Festival (Denmark), NordArt 2014 (Germany),and the Biennial of Photography FOTONOVIEMBRE (Spain). Maselli has made exhibitions in museums and art galleries such as University of Navarra Museum, CentroCentro Art Center (Spain), the Alicante Institute of Culture Juan Gil Albert (Spain), Luis Adelantado (Mexico), Rocío Santa Cruz (Barcelona), and his wok has been in several art fairs such as ARCO (Madrid), ZONA MACO (Mexico), OFF Art Fair Brussels and Swab (Barcelona). He recently published a book that is part of the collection Cuadernos de la Kursala, from the University of Cádiz.
Artificial Infinite is a photographical enquiry on the aesthetic status of the sublime, which is represented as a controlled fear that attracts the soul, present in qualities like immensity, infinity, emptiness, loneliness, or silence. In this project I offer steep mountain ranges whose semi-darkness, profusion, depth and height come together as the visual achievement of what we may call “the terrifying sublime”, which causes a vortex that disrupts the illusion of security of our everyday regulated and orderly existence.
The works included in this series are not formed by shots taken directly from reality but instead, they offer landscapes that have been recreated through a complex photographic staging where I highlight, through different techniques such as fragmentation, repetition, proliferation and superposition, the magnificence of the mountain ranges that I had previously photographed from nature. By using this technical and formal strategy, I point out the appealing of the unassailable, the human longing for the untrodden redoubts of nature. These recreations, that pursue the bewildering of the sublime, embrace at the same time which seems to become, now and since the 80s, the vehicular concern of the contemporary photographic discourse: the elucidation of the boundaries between reality and its representation.