Gabriele De Matteo’s work is concerned with the photographic enlargement of found images. He takes illustrations from books and enlarges them, deleting the text and emphasizing, through the image’s large dimensions, what remains of the relationship of interrupted meaning. The image, now lacking anything that might restore it to a broader context, loses its informational function and becomes a sort of free-floating element. It is an open text, made more ambiguous by the residual captions, and referring to a nonexistent totality that, in the end, can no longer be analyzed.

Here, De Matteo has taken