Carlo Milani (1977) explores the concept of landscape in a nostalgic, poetic way, in order to reproduce the dialogue between the evidence of photography and the idealism of painting.
Grew up in a house full of books of mythology and art, he says the dialogue between ancient and contemporary is inscribed in its biography: he landed from classical studies to web communication, convinced that the knowledge of different languages is requisite for creativity. He wants to create a mix of modern technology and old content, contemporary medium and historical substance.
Time and memory are two coordinates for reading his works. By contesting the division between memory and experience, Milani wants to amplify the astonishment of the spectator by proposing tranquil poetic settings that prelude a dreamlike journey.
His pictures, in fact, are often classified as “romantic” cause seem to embody some of the ideas that inspired 19th century poets, painters and philosophers: an intimate relationship with Nature, which takes on a sacred value compared to the noisy urban scene; the desire to discover humble shelters in the globalized world; an obsessive search for beauty as a path towards truth.
By referencing Romanticism, he offers us an intimate look at landscape: rather than presenting a factual reality, his works establish a link between the landscape’s present and that imagined by its conceiver.
The use of textures, which apparently bring the photographic surface closer to a canvas of Turner or Constable, aims to strip the grit of the shot, to let the viewer enter an ideal scene, without betraying the authenticity of the place that aroused this vision.