The metamorphosis of photography: a process shared with that of painting, and although starting from divergent positions, the final approach is often the same.

Photography as a medium has increasingly developed technologically but by visually minimizing the input, photographers have often created outcomes analogous to more prestigious visual languages: identification with painting and graphics was termed as pictorialism. The exchange of experiences has ideologically determined painting sharing the aesthetic structure typical of photography.

Photographic pictorialism can be generated unconsciously. The photographic images of graffiti, the spectacular setting of cathedrals, etc, open further viewing spaces but by refusing to invent, will these images be evaluated as an overvaluation of the photographic language?

In the emotional charge of Katia Mandelli’s thoughts, one immediately feels the allusive fascination of a close bond with painting. This place welcomes Kathia and she fuses with it intimately, yet with a long-sighted outlook. Her shots permeate the harmony and beauty of this immense creative space, the repetitions occur over a long time, yet when the closed suddenly opens again; a new cradle swings until a new pictorial alliance becomes adult. 

Foremost, the subjects depicted by Katia Mandelli have undergone constant dematerialization: the shapes disappear, and with impalpable light effects, the colours become a symbol. 

Then the formulas change, and in the most recent images taken by Katia (but only after having unspooled her line of thoughts for a long time), she now rediscovers the sense and physiognomy of Jackson Pollock’s pictorial space. Convergences? Certainly, a conceptual orientation, whilst this reclaiming serves to express a charge of still incandescent energy inherent to a beauty that transcends reality, to transform and dye it with unexpected colours, akin to a process of photosynthesis.

In these photographs by Katia Mandelli, the robust figure of trees is often recognisable; through abstract expressionism, it converts and takes on an emotional dimension that reality often does not assign to us. The size of the tree is transformed, with its carnal body we reach a balance (form and colour – the void and matter) from which a thousand forms of vitality emerge, upon which a fascinating vision is born.

Photography remains immortal, despite the fact that its linguistic line par excellence is not marked. The lexicon is fluid as a precious lymph and refers to an infinite vocabulary. Katia Mandelli knows how to compose sentences and texts, seductively involving and amazing us.

Katia is surrounded by photography. 

A cura di Franco Semini