ConceptEuropeLato Selvatico by Alessandro Ciccarelli

The word natura (nature) comes from natus, that means born, and urus, the generative energy. The word selvatico (wilderness) originates from  selva (forest), which has the same root as sole (sun), and it means to burn.

The word natura (nature) comes from natus, that means born, and urus, the generative energy. The word selvatico (wilderness) originates from  selva (forest), which has the same root as sole (sun), and it means to burn.

The word wilderness comes from the Old English wildeornes, where deor is the animal of the forest, and it means, in a broad sense, a place of danger and difficulty in which everything depends on the ability to survive. But. If we wanted to go back to the real etymology of these words, we should go a long way more, leave the city, reach a wild space large enough – sometimes it can be a long long way – and spend there a significant amount of time. In silence. Walking, if possible.

The first sense to wake, amazed, it would be the sense of smell: the freshness rising from the damp earth, the balsamic amber of resins, the smell from the trod moss.Then, in order not to stumble, we would go again to pay attention to where we put our feet, and to touch with hands all things around, rough, sticky, slippery: a polished floor it is only a forcing to which we are accustomed too much. (At the beginning, someone has mapped out a path for us – someone would say a rut – without obstacles.) A rediscovered capacity to watch and listen it could be the blessing for visual and hearing. At dusk, we could be overwhelmed by a primordial sense of loss mixed with excitement. In the dark, all senses would gather, triggering dormant mechanisms. In a short time, an archaic system, in which each living and inanimate element is in harmony with the other, known and shared, would replace the ridiculous line of thinking (culture?) imposed by the so-called civilization.

Lato Selvatico | Alessandro Ciccarelli

Give me as friends and neighbors wild men, not tame ones.

Henry David Thoreau

Lato Selvatico | Alessandro Ciccarelli

If we look at the last work of Alessandro Ciccarelli, the thing that catches the eye is just exactly the calm attempt to represent an emotional etymology of (his) wild side. These are images of an instinct, a trace of an exploration and the resulting sensations. They are all frames of a mental and physical ecosystem to recompose from founding elements, evoked by a human representation: it is on the film and on its colors that we can find the idea of water, air, earth and fire, but not into the portrayed reality, because this it is not immediately accessible.

From emerald and total green of logs standing out the sky, and of the sky, to the off-white of the dense fogs, from the red that comes when natural and human enter into a relationship, to the undergrowth’s brownish, the colors become photographer’s accomplices and contribute to an Archaeological activity on instincts: no one knows at what time or space the film, the colors and the intentions belong. It’s only possible to recognize the guessed sense of our own wildness, sensed from a nature that queries and incites doubt, a nature whose strength is to be found precisely in the fog and fading. It is also an ecological operation that cleans ourselves of all artificial residues.Sometimes it may happen that the image opens itself and, pacified, embraces all surroundings: some doubt is lost, but it only lasts a moment. These are photos of uninhabited space, the space of wilderness.

We could see paths suggested as a possible reconnection but, paying attention, none of the paths is really recommended. Fallen, broken or cut logs, imperviuos corners, and a vague sense of mystery, are the proof that the path is troubled. It can not be shown, but only undertaken in a very intimate way, and evoked, in a very personal way.

Lato Selvatico | Alessandro Ciccarelli

Often I am permitted to return back to a meadow / as if it were given property of the mind / that  certain bounds hold against the chaos.

Robert Duncan

Lato Selvatico | Alessandro Ciccarelli

The Western world gives dark and negative meaning to the word “wild”, it rejects it. Wilderness is instead a return to primitive harmony that is the more resistant nerve. After all, we are orphans of the ecosystem that created us, a place where all elements are partakers of wholeness (Who can really say to be completely adapted to civilized life?). Living, writing, evoking this place is like talking about a wholeness from which the human being has decided to pull out. So, a material distance from our origins, that it is hard to fill. But there’s more.

The wild side, the inner one, includes, at varying doses, chaos, eros, all taboos and a sense of the unknown, it is the realm of the demonic and ecstatic together, of the archetypal power, where the engines of teaching and changing – elements of an overwhelming power – originate. After all we could walk on polished floors for quite long time and hide all this under a carpet. Return to the wild is an inner practice, all considered unseemly at this time. Investigating it is a risk that not many are willing to take. [Official Website]

Lato Selvatico | Alessandro Ciccarelli

I would like to say / Coyote is forever / Inside of you. / But it’s not true. Gary Snyder

Giusi Palomba

Lato Selvatico | Alessandro Ciccarelli

Lato Selvatico | Alessandro Ciccarelli

Lato Selvatico | Alessandro Ciccarelli

Lato Selvatico | Alessandro Ciccarelli

Lato Selvatico | Alessandro Ciccarelli

Lato Selvatico | Alessandro Ciccarelli

Lato Selvatico | Alessandro Ciccarelli

Lato Selvatico | Alessandro Ciccarelli

Lato Selvatico | Alessandro Ciccarelli

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PRINTED EDITION
Interview with Samuel Feron; Published in our printed edition #16

DnaEuropeInterview with Samuel Feron; Published in our printed edition #16

Samuel Feron has been photographing Nature for 2 decades, exploring remote and sparsely habited areas all over the world. He tries to go beyond what the eyes first see, assuming that Nature has secrets in itself.
Interview with Marco Cheli; Published in our printed edition #16

DnaEuropeInterview with Marco Cheli; Published in our printed edition #16

I think that Dodho provides a fantastic opportunity for those who want to be recognized by an informed public and by their peers. Seeing my work in the pages of Dodho, well, it is the most exciting thing that has ever happened to me, and I have photography to thank for it.
Interview with Lys Arango; Published in our printed edition #16

DnaEuropeInterview with Lys Arango; Published in our printed edition #16

Time, dedication, and the right rhythm combined with a human approach make the work of Lys Arango one of the most truthful and inspiring photo testimonies of indigenous people.
Interview with France Leclerc; Published in our printed edition #16

AmericaDnaInterview with France Leclerc; Published in our printed edition #16

Canadian Travel photographer France Leclerc tries to find this commonness with joy showing sweet observation through fresh eyes to portray ethnic group communities the world seems to ignore.
Interview with Nikolina Petolas; Published in our printed edition #16

DnaEuropeInterview with Nikolina Petolas; Published in our printed edition #16

I work in several techniques, but what you are reffering to in ’Tale of the Blue Pear’ series  are mostly digital collages combined with digital painting. I also paint in traditional techniques but that is done on canvas or hard board.
Interview with Michele Punturieri; published in our print edition #15

DnaInterview with Michele Punturieri; published in our print edition #15

This work is somewhat impromptu because it has been carried out, so to speak, on the spot and at the moment. Street photography pure, trying to capture the most interesting moments and faces in the places I visited. 
Interview with Dimitri Weber; published in our print edition #15

DnaEuropeInterview with Dimitri Weber; published in our print edition #15

I like the colours on my pictures to pop a bit. To be as natural as possible, while catching the eyes of the people looking at my pictures. So, I enhance some of those colours during my editing process, mostly to give them a homogeneous look that suits my style.
Interview with Ana Maria Robles; published in our print edition #15

AmericaDnaInterview with Ana Maria Robles; published in our print edition #15

There is no doubt that women play a leading role, but they are still a patriarchy and all decisions are made by men who meet in assemblies to discuss everyday issues. The pipes are carved and armed by them and generally match their ornaments in both the Toposa and the Didinga.
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Ghost world by Juan Rodríguez Morales

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My photographs start with a strong central “event” then comes location and colour. They contain surrealism, the unusual and the quirky. I use eroticism and frequently narrative elements to that lead the viewer to conjecture what may have happened before or after the frame was taken.
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FEATURED STORIES
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Greenland; Stories from the Sea by Camille Michel

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Until the corn Grows Back; Lys Arango’s project was selected and published in our print edition 16. Criminal violence in Central America was something that happened very far away and that explained, according to the media, the gigantic caravans of migrants that from 2017 began to travel thousands of kilometres to reach the United States
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Photo by ©Ryotaro Horiuchi | Japan | Issue#14
Dodho Magazine is pleased to announce the new call for the photographers selection from all over the world that will be presented in an exceptional edition.
Deadline: Monday, November 30, 2020
Photo by ©Ryotaro Horiuchi | Japan | Issue#14
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Thank You. We will contact you as soon as possible.
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Dodho Magazine accepts submissions from emerging and professional photographers from around the world.
Their projects can be published among the best photographers and be viewed by the best professionals in the industry and thousands of photography enthusiasts. Dodho magazine reserves the right to accept or reject any submitted project. Due to the large number of presentations received daily and the need to treat them with the greatest respect and the time necessary for a correct interpretation our average response time is around 5/10 business days in the case of being accepted. This is the information you need to start preparing your project for its presentation.
To send it, you must compress the folder in .ZIP format and use our Wetransfer channel specially dedicated to the reception of works. Links or projects in PDF format will not be accepted. All presentations are carefully reviewed based on their content and final quality of the project or portfolio. If your work is selected for publication in the online version, it will be communicated to you via email and subsequently it will be published.
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