The horizon line has always fascinated Fontana and have been a recurrent subject since the 70s.
In his meditative seascapes he pushes his abstracting process to the extreme, using nature’s inner geometry as his composing tools. Fontana often says that his photographs are not of the objects on the other end of the lens, but a projection of his own personality, of his inner landscape. In his Mari, we can read the true meaning of this more than in any other series. To him, the line where the sea meets the sky and their mirroring surfaces are the embodiment of infinity itself.