Stefano Nicolini breaks one of the principles of contemporary photography by emphasizing the roles fulfilled by aesthetic beauty and harmony, values which traditionally it denies. His photographs demand a new consideration for the various photographic genres such as landscape and wildlife photography.
He proposes a beauty which demands to start speaking again with art, and with photography in particular, so that it can go back to shining on man's journey, which is existential even before being artistic.
Nicolini's photographs want to give rise to a decisive question: isn't there in art and therefore in contemporary photography an overestimation of the conceptual element and of the capability to trigger reflection?
Plasticity, the use of chromatisms, expressive force, clarity of the light never supported by flash devices or floodlights are all elements which characterize Nicolini's photographs. And at the same time, these enable to appreciate the abilities that can be synthesized in deftness which traditionally identifies the artist.
The use of abstractionism and the blurred effect support a view which is provocatively as much oneiric and idyllic as it is analytic. Such is the ironic and optimistic style that the photographer has chosen so as to make us stop and reflect on the health conditions of our world and of humankind.
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