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.
Fascinated since childhood by the poignant landscapes of the countryside and coasts of southern Italy, he begins to explore the deeper meaning of the visible, a universe in which the human figure is banned but whose action takes a leading role in the conformation of the landscape: the agricultural fields (Tyrsenoi, 2017), the incredible marine spaceships of the trabucchi (Phoenician fishing, 2012), the cliff dominated by the lighthouse or by mysterious stone constructions (Guardians of the sea and Atlantic sights, 2018).
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.