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Karim Carella

Cypress trees at sunrise

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Karim Carella

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Cypress trees at sunrise by Karim Carella

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Cypress trees at sunrise

by

Karim Carella

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$ 1,000

Or 3 payments of US$333.33 via instalments at 0% interest!IconInformation

Overview

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2017

Giclée print, selenium toned on hahnemühle bright white 310 gsm fine art cotton paper

Edition of 5

Dimensions: 100cm (H) x 100cm (W) x 0.1cm (D) / 39.4" (H) x 39.4" (W) x 0.04" (D)

Note: Actual colours may vary due to photography & computer settings.

Artist Statement

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Tyrsenoi is the name used by ancient greeks to talk about etruscan and their land the Tuscany, one of the most charming country of the italian peninsula.
This project is dedicated to this land and its more unusual and intimate corners from the hills to the sea.

"Cypress trees at sunrise" is a photograph from the project "Tyrsenoi (their land).
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LIMITED EDITION OF 5. Epson Carbon Inkjet print (Giclée print) on Hahnemühle Fine Art cotton paper "Bright White" 310 gsm. Selenium toning. Comes with a certificate of authenticity, signed and numbered.

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Artist Profile

Born: 1970

Hometown: Follonica (Grosseto)

Based in: Follonica

Karim Carella arrives late to photography, with a degree in Statistical Sciences and a life in search of spaces suitable for his insatiable creativity, which will lead him to abandon his work and life in Milan attracted by the primordial need of the sea. Karim’s journey in photography is a journey in search of himself, or perhaps only of his place in the world, in a gradually more conscious and autobiographical way.

The gradual and growing selection of shapes and tones, thanks also to the purification of the chromatic compositions, reaches a concept of photography immobile in time and isolated in space, and to representations increasingly tending towards the abstract. This research, which apparently assumes the risky connotations of a formalistic, almost snobbish attitude, actually reveals the search for a new code, capable of emphasizing the cry of pain of the violated nature.

The love for nature, for the sea in particular, and man’s awareness of the threat, lead him to select progressively more and more abstract forms in which to dissolve almost every call to reality.

Primordial elements scrambled on a single plane, and then redesigned on layers with different coordinates, on a rarefied, mobile, fantastic background. It is a research in which the photographic language embarks on a courageous journey towards the abstract dimension. A process of transcendence that brings us back to the avant-garde of the twentieth century.


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