The horizon line has long fascinated Fontana and has been a recurring subject in his work since the 1970s. In his meditative seascapes, he pushes his process of abstraction to its limits, using the innate geometry of nature as his compositional guide. Fontana often notes that his photographs are not depictions of what stands before the lens, but projections of his own personality— of his inner landscape. Nowhere is this more evident than in Mari, a series in which the meeting line of sea and sky, and their mirrored surfaces, become the purest embodiment of infinity.