SERAPHITA

I turn soft as water, I mingle with the images I see, I fly together with an enveloped aerial form, enveloping me, happy to be vague, to live at the limit of the visible and the invisible.

Séraphita intends to find correspondence between natural elements and the sense of sight, translating all the visible into air and water.

According to the thesis that when we dream we submit to the vegetative life of the water element, this artwork intends to explore the round and folded space of sleep as a place where the sight is subject to the dynamics of envelopment.

A dehiscent space that opens in every direction, welcoming the infinite possibilities of all forms yet to be created.

The artwork intends to experience the action of entering the water as reflexes do, using transparency to creep into the visible.

Séraphita is an ethereal, pure figure that penetrates everything; her faculties are internal, she does not know but remembers, guessing the past and the future.

FOLDING

Folding reflects around the concepts of memory and vision and their relationship with the image.

By closing his eyes, the artist tries to re-concile with the movements of his body recorded by the sheets during the night, an action aimed at using the image as a tactile experience, to physically enter into the sleep.

The project intends to surrender to sight and use the surface of the sheet as a visual terminal, where the liberation of the mind from the body generates images.

The surface is activated to experience the purest and most impalpable essence of seeing as a place where images exist free and in relation to themselves.

The process of composition and photographic drawing reproduces, like a copy, the very act of abandoning oneself to sleep and the images that flow from it.

The term ‘folding’ alludes to the possibility of revisiting the sheet taking it with you as a memory or fold it into a drawer and then take it back, lay it down and reuse it as a tool to see. 

FLAT 
Use the concept of construction as a living condition.
The project uses the photosensitive material as a white surface on which to record repeated schematic action, with the illusory purpose to entering into what is being built.

PROJECT OF VILLA WITH INTERIOR

The work is based on a dialogue with the Rossi’s monument to Sandro Pertini (Milan 1988-1990).
The architectural work consists of the reiteration of a form, a code, an element that emphasizes the theatrical component.

It was chosen as a workbench for recomposing the visible through exercise and repetition.

In the “Project of Villa with Interior” the medium used is the photosensitive material as a recording element, the object of investigation is the visible. 

The working method stimulates an inner constructive action that leads to the discovery of a new condition, invisible to the eyes.

The entire series of works are to be regarded as drawings carried out photographically, through the addition or subtraction of additional geometric forms in the darkroom, a process of reaching the visible from within to superimpose it on the real.

The frames, instead of being frame and boundary as usually understood, resemble the slat of a curtain, red like a curtain supporting the images from above and dropping them from the other sides.

HOMEWORK

The Homework Project is made up of a series of exercises and aims at experimenting a drawing applied to an elementary constructive basis.

The drawing, conceived as an attempt to assimilate the subject, is created through photography by conceptually putting analogue printing side by side with the drawing in order of apparition.

The use of photographic processing as a tool for assimilating concepts is linked to its ability of being copied.

Such feature is expressed by combining the photo studio expertise with the gestures of printing, using light as an architect would do.

In the Homework Project, the orthogonal axes represent the house. They are the starting point of each experience, they are the house conceived as a centre and intersection, a force of creation and order.

  

 

MARMO

Marble is a cast of the sea, an encounter between elements stuck in a snapshot.
The feeling of stillness, of the uncertain interruption of motion that we are allowed to admire in the snapshots:
a wave that is about to break on itself but that the photograph has fixed in its fall, a few centimeters from the surface.
Time – and movement, similarly – is like suspended, all clotted in an image (a time-image, to say it in Deleuze’s words) that seems to count for itself, almost as if it was simply asking to be watched.