Giclée print, selenium toning on hahnemühle bright white 310 gsm fine art cotton paper
Edition of 5
Dimensions: 45cm (H) x 45cm (W) x 0.1cm (D) / 17.7" (H) x 17.7" (W) x 0.04" (D)
Note: Actual colours may vary due to photography & computer settings.
APHÀIRESIS, Greek term that stands for abstraction, is the new photographic project signed by the artist Karim Carella as a continuation of the new artistic journey started with “Oblivium”.
With a gradual and progressive selection of shapes and shades, also due to the refinement of the chromatic compositions, the artist achieves a concept of photography frozen in time and isolated in space with representations tending more and more towards abstract.
A research taking the form of a risky formalistic approach, almost snobbish, but which in fact reveals the quest for new codes to emphasise the pain cry of the mistreated nature.
"Elegeía II" is one of the artwork from Aphàiresis project.
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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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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