Anular — Luminous Transitions (2023)

The photographic series Anular — Luminous Transitions investigates liminal states between visibility and erasure, presence and suspension, registration and transfiguration. Composed of the works Anular I, II, and III, the series displaces astronomical phenomena from the field of documentation into the territory of sensory experience, where light, color, and perception become critical material.

The images were produced through direct observation of the sky and subsequently subjected to a rigorous process of chromatic elaboration. Through the manipulation of hue, temperature, vibrancy, and saturation, Analize Nicolini constructs three distinct visual atmospheres in which landscape ceases to function as a natural given and becomes a symbolic field. Color does not operate as a decorative effect, but as language: a device capable of tensioning the relationship between observed reality and constructed reality.

In each photograph, the Moon occupies the upper axis of the composition, establishing a silent and gravitational presence, while the urban geometry in the lower plane introduces the constructed dimension of the world. This relationship generates a dialogue between the cosmic and the everyday, the infinite and the transitory, between forces that exceed the body and structures that organize it. The rarefied horizon and formal economy reinforce an atmosphere of suspension, inviting slow contemplation and introspection.

The term anular refers here not merely to an astronomical event, but to a conceptual gesture: to annul as to suspend, to temporarily interrupt habitual perceptual flows, to create an interval in which vision is reconfigured. The series operates within this interval, producing images that do not present themselves as spectacle, but as fields of attention.

In Anular — Luminous Transitions, Nicolini articulates photographic technique, chromatic elaboration, and existential reflection within a single plane of operation. The series affirms photography as a practice of sensorial translation of the immeasurable, capable of converting cosmic phenomena into subjective and political experiences of time, impermanence, and scale.

Rather than documenting the sky, these images interrogate the place of the body in the universe, proposing a poetics of suspension in which seeing is also learning how to remain before the unsayable.