Most of the ICM tradition has grown from northern minimalism — from the quiet clarity of Scandinavian light, where serenity, distance, and control prevail. My work emerges from the opposite pole: the Mediterranean Baroque — solar, emotional, incandescent.
In this world, light is not a tool of description but a living substance, something that burns, blinds, and redeems. Color is not decorative; it becomes an emotional grammar, carrying the same weight that melody has in music or voice in flamenco. Form is never still — it vibrates, expands, and dissolves into motion.
Where northern ICM seeks silence, I seek ecstasy. Where others polish gesture into calm abstraction, I let gesture erupt — impulsive yet deliberate — through the body of the camera. The movement is not random but choreographed: a travelling of energy through space, a liturgy of exposure.
This is the essence of my Long-Exposure Travelling ICM. The camera advances, breathes, and crosses the field like a living witness. It does not skim over the world — it enters it. Each movement becomes a dialogue between body and landscape, between the physical and the metaphysical.
In this sense, my photography belongs to a Mediterranean tradition of expressionism — not the cold abstraction of reason, but the ecstatic articulation of light and passion. It shares something with the gold of Byzantine mosaics, the violence of Caravaggio’s chiaroscuro, the spiritual energy of El Greco’s skies, and the solar fire of Sorolla’s seas. It is not nostalgic but metaphysical: an attempt to recover the sacred through intensity, to show that emotion and transcendence are still possible within contemporary photography.
In the Mediterranean Baroque, light is the last form of faith — not divine by origin, but divine by intensity.
The Mediterranean Baroque — The Four Pillars of a Solar Aesthetic
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