The conceptual element permeating contemporary photography to the point of risking to asphyxiate it, is obviously present in Nicolini's photographs, where the use of abstractionism and the blurred effect support a view which is provocatively now oneiric now idyllic. Such is the ironic and optimistic style that the photographer has chosen so as to make us stop and reflect on the diseases of the Earth and on their causes. His photographs inevitably cause us to ask ourselves what purpose is there in the ceaseless need for the new, the frantic necessity to surprise, if the diseased Earth is the indisputable evidence of how profoundly we ignore the present, and actually take no interest in the future. Nicolini also wants to show the Earth appreciation and gratitude by photographing its beauty. Therefore, the significant presence of locations unknown to most people is not unintentional, but aims at reasserting the vastness of our world and the inexhaustible possibilities of analysis which it demands.
Hence, Nicolini's use of abstractionism and the blurred is not intended as an escape from reality nor its redemption, but rather as a further reading wanting to reassert that before transfigurating or withdrawing from reality, it is worth observing it in all of its forms, all of its facets, and in all of its manifestations.
