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i© Edoardo Miola.

Cover Stories

This second issue of FPmag explores the relationship between images and man-made landscape. Its cover has been entrusted to Edoardo Miola, who explains in a brief interview the origins and objectives of the work here presented.

Light. Then a long dark shadow dividing an apparently deserted expanse, inviting our gaze to follow its path. The desolation of the landscape speeds up the movement of our eyes, but down there, on the horizon, the guiding light and the silhouettes of the buildings capture our attention and interrupt the rushed run of our gaze. In a flash, the gaze goes back to the lightened outlines of the image and, although denied to our sight, the threshold of the beyond looks instead easily reachable by the imagination.
The profiles of one, ten, hundreds of coasts crowd together suddenly in our mind, they trace the outline of a well known environment that, despite the evidence, does not seem to find a precise correspondence with what the image is showing. There is something clashing in the stillness of this coastal landscape and in its silence; something that indulges the expectation and undermines it at the same time.
The place described by Edoardo Miola in his work Skeleton Coast is in fact a place at the ends of reality. A sort of desolated outpost that has the scars of man's tragical and repetitive passages. Here his presence is strongly echoed by virtue of these multiple and variable traces.
The entire story of the author gravitates around these very same tracks left more or less voluntarily by man, around these wrecks that model and transform uninterruptedly the surface of the landscape. «These objects are alive», explains Miola in the following video, and if one wants to try and understand the territory and listen to its story made of wrecks, wars and hopes, it is crucial to come in contact with them.

[ Stefania Biamonti ]

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