L'Illusione Irrinunciabile
In the photographs I realize, reality is transformed through a rigorous work on objects; the choice, the juxtaposition, the description, and the light, never connect to reality, as they emerge from personal inner visions.
In my work, every object wants to be protagonist, no matter how far or close it is from the focus of attention.
Every object embeds juxtaposition, proximity, or distance in relation to other objects. They’re taken out of their regular context and their normal function. They make it to the scene in an indefinite space, where they acquire new symbolism that can be interpreted in many possible ways.
My intention is for my work to evoke silence, calmness, wait, nothingness, apprehension, mystery, and beauty…the graceful state of a poetic moment.
Because of these characteristics, these photographs are closer to paintings than to pictures, even if they’re realized employing photographic gear and almost non-existent post-production. The result comes from the shot, with slow steps and many variations.
In order to obtain the composing synthesis, during the composition I subtract and replace the objects until every single one becomes irreplaceable.
The aim is reaching an atmosphere that’s filled with the austere essence of the objects – where nothing can be added or subtracted because every object becomes necessary.
In my work, every object wants to be protagonist, no matter how far or close it is from the focus of attention.
Every object embeds juxtaposition, proximity, or distance in relation to other objects. They’re taken out of their regular context and their normal function. They make it to the scene in an indefinite space, where they acquire new symbolism that can be interpreted in many possible ways.
My intention is for my work to evoke silence, calmness, wait, nothingness, apprehension, mystery, and beauty…the graceful state of a poetic moment.
Because of these characteristics, these photographs are closer to paintings than to pictures, even if they’re realized employing photographic gear and almost non-existent post-production. The result comes from the shot, with slow steps and many variations.
In order to obtain the composing synthesis, during the composition I subtract and replace the objects until every single one becomes irreplaceable.
The aim is reaching an atmosphere that’s filled with the austere essence of the objects – where nothing can be added or subtracted because every object becomes necessary.
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