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.