Le sujet de Milella est les villes et leurs frontières, les cimetières et les villages, les grottes et les maisons, les tombes et les hiéroglyphes – bref, les signes de la présence de l’homme sur la terre.
Son intérêt est le chevauchement entre la civilisation et la nature, et comment le paysage et l’architecture sont investis dans la mémoire individuelle et collective. Ces photographies émergent et remettent en question les idées classiques du paysage dans l’histoire de l’art, et cherchent une iconographie alternative dans laquelle un passé presque oublié coexiste avec le présent ; postface de Fransesco Zanot, photos en couleurs.
“It’s hard to talk about photography without facing issues of time, memory and death – not as stereotypical archetypes, but as challenging and malleable entities of culture and nature.” Domingo Milella
Says Milella: “Making images doesn’t only mean documenting or taking photographs. It’s also a possibility for contemplation and recollection. Building an image of the past is to face the present, and activate the possibility of the future.”
Milella’s subject is cities and their borders, cemeteries and villages, caves and homes, tombs and hieroglyphs – in short, signs of man’s presence on earth.
His interest is the overlap between civilisation and nature, and how landscape and architecture are invested with individual and collective memory. These photographs emerge from and challenge classical ideas of landscape in art history, and seek an alternative iconography in which an almost forgotten past coexists with the present.
