Sabina Damiani

A work made from scrap cut outs of photographs I made in the past eight to ten years. I was collecting and categorizing them by color and size but I often don’t know any more which photo they used to belong to or where it was taken. In the specific case of Infinite Horizons I am dealing with pieces of skies and occasionally pieces of the sea too, although sometimes it is difficult to say which one they belong to. The cut out is an object for itself but the consciousness that it was once part of a whole make me imagine more different images connected to that little piece of photograph. I can see infinite seas or infinite skies or far more things. On the other side the cut out makes me think of photography and the photographic matter and process itself as a printed matter and as an act (the photographic act/action). When taking away the subject, its connotations and indexes of significance, when discarding the actual image, all that remains is color on photographic paper. It can be related to a pictorial ready-made or photographic writing. Speaking of which, it can be connected to Dubois discourse on photographic practice, and more specifically, on the language of photography. He describes it not as a coincidence between the image and the referee but as a way of production of the sign (photographic sign) itself. Infinte Horizons are such only at their imaginative stadium. These are scraps that I decided to leave out from the photograph, sometimes there are visible pen signs that told me what I had to keep and what to throw away. Some others are white borders I didn’t like on the original photographs. By placing a piece of scrap as new object and not as trash, it lives with a new life, gains new meanings and become the ‘main act’ of the story. It’s the photographer’s choice to show only one part of the bigger picture, but which one is not yet disclosed.