Mattia Listowski, artwork photography Space, 2009.






Mattia Listowski, artwork photography Space, 2009.


SPACE OSZ


Mattia Listowski, artwork photography Space, 2009.


BLUE SPACE


Mattia Listowski, artwork photography Space, 2009.


SPACE ESPACE


Mattia Listowski, artwork photography Space, 2009.


VIOLET SPACE
February-August 2009, Digital Prints, in Perceptive Landscapes and Playgrounds exhibitions.





In the two following series, SEASHORE and SPACE it's a different kind of relation. I wasn't able to see the image during the shooting. It becomes a discovery for me and the viewer. Using a digital camera normally allows me to control the image, even on the screen, but I just see a white image for SEASHORE and a black image for SPACE, they're taken under unfavorable conditions of light for the photography. SEASHORE during a foggy day with no visibility, SPACE during the night without moon even with no light source coming from the side. The revelation of the image to me and the viewer comes through the process of tranformation of the pixel, to improve the little information that remains on it. These difficult conditions of shooting greatly increases the artifacts on the image. The colors, lines, lights, everything is extreme, the image is fully filled of artifacts. We finally have: excessive noise, pointillism, garish colors, non-existent stains, etc. My funny question is: how SPACE ESPACE would have looked like if we had a better night vision, would we have seen these colors? Probably not. One sure thing is that even if at night all cats are not gray they're not even purple! The amazing thing is the conservation of certain parameters that make up the landscape, despite the absence of light. SPACE ESPACE reveals the sand under the water in the foreground, with no light source. This remains a mystery to me, that made me chose this picture at the beginning of this research on perception, and left me with no voice for 6 months before I started to produce other images.