Francesco Summo – Corpo in situ – parte seconda, english version – clicca qui per la prima parte – It must be because I paint since so many years and I have learnt when I was really young, from a Milan painter, to draw outlines of female nudes with only the charcoal: lines that touch each other, that intersect and run away to meet again in some sinuous curve a little further on, in a complete and ecstatic harmony; it must be because of this, that it’s hard to me to imagine landscape photography without the human figure in it. I like the straight lines of architecture and urban objects and the contrast they create near the sinuous lines of a human body, either I like those curved lines of the countryside and the harmony they create when near the human body of a man, a woman or a baby. I like the female crossed legs, that form an hypothetical “x” for the hypothetical crossed lines that create the focal point of the photography; raised arms that soar upwards people in a mass; the bending of a back that form an arrow touching with a doorpost. A body leans on a wall with their shoulder? that’s a triangle. Sometimes a nose, a finger or the most little particular can create directions that harmonize the image. And a dress? If it wasn’t on a human figure it would hardly be in harmony with what’s around; or two bodies near each other that talk (or kiss), form a figure that intersect with the perpendicular lines of the boundaries of the picture; and also the dark mass of bodies that, because of the perspective, meet toward the outside, toward the frame of the picture, a white female body is in the middle, and gazes toward the spectator creating a straight route between them. There are so much forms and lines that create masses and directions, that the human figure tells us to weight and follow with our eyes, like a travel between our senses, the signs and the communication.