Darren Almond realized that his “Fullmoon” photographic series, 2002–15, had reached a point of no return when he discovered that the famous white cliffs of Rügen, painted by Caspar David Friedrich, were plummeting into the Baltic Sea. His photograph of this site of erosion, in which one sees little more than a dense bank of fog that expands horizontally, becomes an image of the disappearance of the Romantic landscape and the sublime. Earlier, in Patagonia, the artist had noticed that the stars emitted a colored light at least as radiant as the luminescence of the moon. So now, in order to depict these constellations, he no longer turns to photography, but instead resorts to acrylic paints, which he at first applied to sheets of black paper with printed grids that presumably helped him place the patterns he’d observed in the nocturnal skythat abstract and limitless surface
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