Jan Jedlička has been recording the Maremma landscape for three decades with various artistic means. He has systematically studied the topography of the region from the highest points, the large, simple shapes of hills and plains, the canal systems, the clean lines of the coastline. He observes the migratory fires set by local peasants to burn their fields and grass. The elemental structure of the landscape, the colours and reflection of the water surface emerge in the ever-changing light during the day and the seasons. The sequences and arrangements of the film develop a multi-layered dialogue between the landscape and the abandoned house. In the interior spaces of the house, in the play of light and shadow, from unexpected angles, from spots on the wall or patterns on the tiles, Jedlička reveals motifs that resonate with the physiognomy of the landscape.
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The House Was QuietJan Jedlička has been recording the Maremma landscape for three decades with various artistic means. He has systematically studied the topography of the region from the highest points, the large, simple shapes of hills and plains, the canal systems, the clean lines of the coastline. He observes the migratory fires set by local peasants to burn their fields and grass. The elemental structure of the landscape, the colours and reflection of the water surface emerge in the ever-changing light during the day and the seasons. The sequences and arrangements of the film develop a multi-layered dialogue between the landscape and the abandoned house. In the interior spaces of the house, in the play of light and shadow, from unexpected angles, from spots on the wall or patterns on the tiles, Jedlička reveals motifs that resonate with the physiognomy of the landscape.
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