Delogu’s new forays into the landscape are so alert and aware, they feel like images made by a Kasper Hauser escaped from a windowless cell. They seem like pictures made by someone who has never seen outside, and is amazed with everything with everything they come across, no matter how insignificant. These pictures of weeds and scrub trees and leaf litter and sand are defiant. They refuse to be about content. They refuse to be about form. They are instead, remarkably, about essence. They ask “how does it feel to look at the world?” and they say “I don’t know why I like this, but I know I do.” Delogu is a Kaspar Hauser here, escaped not from some statistic actor, but from the studio, and the wave forms of attention a person in a room automatically attracts.
Tim Davis, Futurspective, Noir et Blanc
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