A landscape, a moving female figure, and a perfectly in-focus Fabbri jar are the main elements of this work. The piece, Imago, Valdivedro, 2018, was designed along the lines of one of the artist’s most important works in recent years, Imago. Tarantini’s artistic research has been in progress since the 1970s, using the moving images, and the precarious nature of vision, in a creative way. His preference for moving human figures can be seen in previous works, and is inspired by his interest in the work of Francis Bacon and his figures which are contorted in movement. Tarantini also reflects on the history of the medium, from Muybridge’s Chronophotography to Futurist Photodynamism.
The artist starts off from recent research on the human figure, as part of a wider reflection on visual art, in which landscape plays an important role. He chose to place the object, the Fabbri Amarena jar, in a realistic mountain landscape. This choice reflects his vision of the world. The female figure, a moving nude figure that becomes unrecognisable due to the intentional instability of the moment of taking the photograph, and the surrounding nature, have a paradigmatic relationship. This Pantheistic vision connects the product to nature.
The trace left by the nude female figure highlights the passing of time, which overcomes the idea that the moment of taking a photograph can only be traced back to a single moment in time. In the passing of time, highlighted by the movement, the landscape context provides an element of continuity. Imago, Valdivedro, 2018is a carefully studied image, a cosmogonical vision which symbolises the rooting of the Amarena Fabbri in nature, as a product surrounded by a Pantheistic landscape.