Is there a connection between nature and religion?

Il Segno

Alice Makselj

Series of six paintings, 100x250cm, charcoal on paper

 

Walking along a path in the wood of Settequerce (Bolzano) one comes to a stream surrounded by vegetation where there is a small altar and some pews hidden by plants and flowers. It is not a popular place, but it is very special as it is said that on 27 September 1991 the Madonna appeared to a man, Nello Rizzati. No words, just an impressive vision of a woman crying, with a pained expression and a series of small flowers sprouting from her tears, which were interpreted by Nello as a warning and as a sign of nature suffering, but also as the graces of various kinds that the Madonna offers to those who have an open heart and respect the others and nature.

This hidden place became the source of inspiration for my project, which consists of a series of paintings, that lead the viewer to reflect on the relationship between religion, humankind and nature. The paintings are part of a mental and physical process that traces my childhood memories up to today and my relationship with that very special place and its history.

When making the paintings, I used not only my hands, but all of myself, indeed I used colors to leave the imprint of my body on paper and I created a crying and suffering religious symbol with human but also abstract features. The relationship between the crying Madonna, myself and the landscape became the main subject of my project, which explores a supernatural event that has the power to capture the viewer and provoke questions about self and belief.

 

A project made in the course

Reading Landscapes: Sites, Representation and Histories of Contested Spaces

How do we understand and represent landscape today, almost 50 years after the famous “New Topographics: Photographs of a Man-Altered Landscape” show at the George Eastman House in Rochester, New York? The Guardian discusses this influential exhibition, in a review from 2010, as a show that rewrote the rules of landscape photography back in 1975. The works on display saw landscape for the first time strongly as man-made, as transformed, and contested spaces, against the tradition of nature photography that Ansel Adams and Edward Weston aspired to, which aimed to envision nature as an eternal, untouched place of contemplation. Contemporary artists and theorists like T.J.
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