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São Paulo: Real & Unreal

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Review by Stefania Biamonti

This is a city that seems to effortless project itself. In doing so, it cannot help but reflect on itself. Sao Paulo is like an open-air museum and in the series of “Reflections”, the photographer Sandro Santioli seems to reinforce this point, demonstrating this through a virtual kaleidoscope. Everything is on view up close. The city’s assorted blueprints appear to have been compressed and through this optical compression, any suggestion of context that may have existed previously momentarily vanishes. At various points the viewer may be quite surprised to discover that an abstract detail of one building reveals an uncanny connection with another building or structure located elsewhere with no intrinsic link between the two. With tis mutual link revealed, these two distinct structures may as well be replicas of one another.Several of Santioli’s Sao Paulo images might be easily mistaken for having been shot through a microscope – with each one, what we see is an entirely new entity take shape, completely transfiguring the man-made landscape that we see before us. An array of multicolored buildings, all kore or less symmetrical, seem to go on in an aparently never-ending series to the casual observer. Only the most observant are able to truly see. You could go one step further to say that a large portion of Santioli’s architectural imagery is a play on the theme of identifying a hidden “twin element” in what might ordinarily appear to be insignificant or even irrelevant detail in a scene.