photo.busdraghi.net and his great inspired blog.

A series of large-format photographs (up to 10 meters wide) of buildings where the windows become an element which is repeated ad infinitum.
The windows of a building are photographed almost one by one and then are mounted together on a computer-based repetition, thus creating a gigantic collage. Thanks to the repetition of windows a virtual construction of buildings that do not exist in the real world is created, huge palaces with thousands, sometimes ten thousands of windows.

Piazza del Duomo, Milan

Musée d’Orsay, Paris

The photographs explore a possible urban space, a space between the present and the future, cities as they seem to be or the way they might become. A game that goes beyond space and time, modern buildings and historical palaces are mixed together creating a new architectural style, where only repetition makes sens.
It is a journey in a modus vivendi dematerialized and increasingly decentralized, in which repetition, standardisation and impersonality prevail.

Chamartín railway station and Hotel Chamartín, Madrid

Louvre Palace, Paris

The giant wall of windows which is every photo of the series, becomes a universe to explore, awakening in the spectator a voyeuristic desire of scanning other people’s homes and lives.
A desire that is eternally dissatisfied because we are confronted with a trivial and repetitive reality. An infinity of uniform and hyper-detailed micro-worlds that make up everyday life, the representation of living in cities.
The photographs of repetitive elements in the buildings and palaces are used to create artistic installations, such as Infinite Cube City.

Gonzaga Institute, Milan

Royal Palace, Paris

www.bartosznowicki.com, co-owner and co-director of Third Floor Gallery and DICE – a project initiated by Bartosz Nowicki, Craig Bernard, David Taylor and Paul Corcoran. It primarily functions as a platform to highlight the thoughts and visual awareness of each member.

Poland never had a colony (although there were attempts to generate them). Human migration to this country never existed on a scale observed in Western Europe. Consequently, the history of Africans living there is minimal. An average citizen of Poland barely has any contact with a black person, especially in small cities or villages. Black people, even if they are born and raised in Poland, are perceived to be ‘the other’ someone from a different reality, different world, different space… An absence of common personal contact and ignorance caused by highly promoted stereotypes, which are clearly visible in Poland’s classical literature and poetry. This has its role in creating an atmosphere of ‘fear’ and lack of trust to ‘Africans’. This is often expressed in verbal or physical abuse.

Mwanso Phiri

Larry Uriri

Today the number of people with African descent living in Poland is higher than ever (but still small relatively). Poles, as a society, appear not to be prepared for this fact; they seem not to be educated enough. There is a wall between the black and white people of Poland and this is not the wall of hate, but the wall of the unknown, the wall of silence. It makes the existence of Polish black people harder than it could and should be.

Mariama Sylla

Paul & Amani Runiga

The need for a change in the nation’s mentality has been recognised. This project is hoping to be a part of the taming process which is already taking place on many levels. There are foundations which organise cultural events raising awareness. In an educational book for teachers entitled How to Tell Polish Kids about Kids from Africa (2009) there are efforts to dismiss the unfair stereotypes. The change is also possible through everyday interaction. As Paul Runiga once told me: ‘through contact with me people here, in this small town, are changing their ideas about black people. They see me with my lovely son; I’m not drinking, not fighting on the street and have a good job. They start to think. Maybe the truth is not as we used to believe’.

Francis Santana

Jean Bernard Diatta