Albert Puntí

Space Poetry

 Until the Reinassance, a painter was considered not an artist but a craftsman, his job to reproduce and not create. According to platonic/Christian thinking, men cannot create, only reproduce what they already have in their souls. Creation is the preserve of God. A painter will be better or worse according to his ability to reproduce nature. Painting is merely mimicry.

From the 16th century, this way of thinking starts to change. The painter becomes an artist, and the important thing in painting is creativity. However, during this period, the ability to reproduce space improves, as perspective ceases to be intuitive and becomes ‘scientific’ with the use of ‘construzione legitima’.

In the mid nineteenth century, this ‘construzione legitima’ becomes an obstacle for creativity and with the beginnings of photography, painting leaves the job of representing nature in an ‘objective’ way to photography.Thus, since the end of 19th century and through the 20th, we observe the continuous search to find new perspective models in painting, through impresionism, cubism and many other forms up to abstract expressionism.

As for photography, initially the perstective is that offered by the camera, built as a ‘camera oscura’, that had aleady been used by painters for centuries and gives a conic perspective. Thus the very camera’s construction, with a single lens,  restricts the photographic representation obtained. The geometric principles in photography are the same as in the ‘construzione legitima’, that is, the projection on a plane (photographic film or paper) from a single point (perspective centre in the camera or point of view in geometric construction).

In creative photography (whose aim is not simply to reproduce reality), as had already happened in painting, the perspective can become a restriction for creativity. Therefore, one must reflect about perspective in photography. I believe that questioning the‘construzione legitima in photography can help open new doors, allowing the transformation of the syntaxis of photographic images.