Karim Carella presents Syksy a new abstract project
For more then a decade Karim Carella’s artistic production has been focused on figurative landscape, with a very rigorous and austere style where some distinctive traits can be found: square format, black and white, long exposures and compositional minimalism.
During all this time the artist explored the deeper meaning of the visible, in a long journey of self-discovery, or maybe just towards its own place in the world, with a growing awareness and in a more autobiographical form. Over time the gradual and increasing selection of forms and shades leads the artist to an exasperation of the subjects in landscapes, in a purification process that makes his photography tends even more to abstract.
The abstract turning point takes concrete form in 2019 when the artist presents his first abstract project “Oblivium”. With “Oblivium” Karim Carella explores new research fields, deeply inspired by his inner life, with the aim of sublimating form as a symbol, a simulacrum and icon of his values. After “Oblivium” the Italian artist presents his second abstract project, “Aphàiresis”, a Greek term meaning subtraction and which forms the core basis of the concept of abstraction, as a continuation of the new artistic course started with “Oblivium”.
“Syksy”, released at the end of 2021, is the third abstract project by Karim Carella. The shots for “Syksy”, autumn in Finnish, were taken in Finland and mainly in Lapland, where the fall season offers some of the most impressive natural spectacles on earth, from the well-known Finnish “ruska” with its light and colour contrasts to the majesty of the auroras.
With “Syksy” Karim Carella emphasises his cry of pain for the violated Nature, paradoxically, precisely in one of the last uncontaminated areas of the European continent, and he does so by “painting” with his camera a true abstract impressionist project. His photography, completely en plain air, moves away from minimalism to focus on the interaction between light and colours to create photos in constant movement.
The referential realism present in figurative landscape is definitively surpassed in favour of an extreme, deeply geometric and unpredictable subjectivism.