Triptych, part 03 par Thierry Maindrault
For this third and final part on the works of Saro di Bartolo, I want to show you the more personal side, where the author no longer participates in the narration of the lives of others. However, faced with his own environments, he continues to challenge us, to move us, to alert us by relying on the aesthetics of our planet. His speech is part of a direct expression through landscapes in exacerbated and seductive aesthetic representations. His technical mastery of photography is flawless. So, we remain frozen in front of the image and the improbable history of our planet is revealed and settles in our brain. If you see the same photograph again, in twenty or thirty years, you will recognize it immediately, with in mind the thoughts that you associated with it the first time.
The graphic construction of images is always pushed to the limit of communicative effectiveness. The line and positioning of each color contributes to the desired awareness-raising effect. The precision in the representation of the different field plans leaves no room for possible confusion for each local story. Each shot is carefully executed, it is adapted to the locations represented. Nothing is missing in each shot, nothing is too much either. Artificial automatism is not appropriate without determination from the creator. It is obvious that the entire process is under the permanent control of the author.
If Saro gives the impression of a gentle dreamer, a little messy outside the demands of his social facade, his photographic skills have the precision of a surgeon’s scalpel. Nothing is left to chance, his work, and its future, comes before the author, even if the latter does not mind a little recognition.
Encountering Saro’s images is, for a true photographer, starting to dream and convincing oneself that with creative potential, anything can be undertaken with Photography.