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From above a new prodigy always emerges, a sort of solitary feeling sweetened by the imagination, like a glare, a silent and glimmering link. What the anarch writer Ernst Jünger emphasised on as ‘prodigy’ and ‘distance’ looks out, as if by enchantment, on Max Serradifalco’s post-computer-era visions, in a congeries of modern, or more exactly post-modern, aerial images with a painterly enamel in which everything seems to purify itself, annihilating itself in the essentiality of the natural object, of a geography and geology directly brought to the pupil, to the heart. This production, expunged and shown by the Google maps, as in a creative post-production, is codified, with Max, in the wish to use images which are already manufactured, to re-create them through an ideal emplacement, a personalized one.  Images into which the sign of that sensibility for the natural object nurtured in the vast scenario of the archive of visual products afforded by the network can be transported. And, above all, to prompt the creation of cognitive links with other visual packages that technology daily places on the plate of observation. In this way science and nature can find, once more, through various types of juxtaposition, a further meaning, a semantic enrichment on the level of perceptive reading. In this way this ‘web landscape photography’ by Max Serradifalco seems to dilate the terrestrial spaces into a polychromy of visual promptings which take greater substance from the printing of material captured from the web, it all leads to empathy of vision, to yield, through the web, that sentimental topicality aiming at the spiritual capture of nature: a new eye, for an ancient soul.

(Aldo Gerbino)