Category: Works on Paper

     This series consists of generic portraits of ordinary citizens like myself, for whom safety is synonymous with normality. These are individuals who have not experienced violence directly and who live with the implicit belief that violence belongs to others, somewhere distant and abstract. The works originate as extremely small drawings, intimate and fragile in scale. As each drawing is subjected to a gradual process of physical destruction, the stages of this transformation are carefully photographed. The resulting images are then printed at a very large scale, amplifying both the material vulnerability of the original drawings and the latent tension between perceived safety and underlying fragility.

This photo series started in 2015, is a non-scientific and non-artistic research of the difference between the image “given” by the mirror and the one “given by the camera” of the people who agreed to participate.
For this I built a device in which the camera “sees” through a mirror that can then be removed.
The participants were asked to take two self-portraits: one in which they see themselves in the mirror and one in which they only see the camera.
The one on the left is the image in the mirror.

The starting point for “Still Untitled” is my long-standing practice in photographing artworks, guided by the principle that a photograph of an artwork should not be considered an artwork itself.

For this series, I created unstable and/or ephemeral objects and structures solely to be photographed. These objects and structures are constructed directly in front of the camera lens and are made in such a way that they achieve three-dimensional coherence only in their two-dimensional photographic representation.

It’s a reversed process. In art reproductions, the photograph aims to hide its presence, functioning like a window through which the artwork is viewed. In these photographs, the subject is volatile, and its representation is the artwork.

 

 

This series of pictures is a collection of “poses”, the result of a study on “posing” in which friends and volunteers participated between 2000-2007.
I built a photomaton type system in the studio with a mirror and a large format camera and each participant was left alone for an unlimited time to take a nude self-portrait.

 

The 40-year crisis came with the fear of death, with the feeling of the emptiness of life. With the painful contrast between the beauty of the world and the sense of the meaninglessness of one’s existence. Anxiety, depression, psychologists. But among these I was lucky enough to see a bright place, the refuge of childhood, the drawing.
I resumed this activity from where I had left it many years ago, practically with the same means.

An instant picture aspires to tell a long story, to show things that are not actually inside the frame, that are not there and then. Sometime it succeed in this, even if the long story is just a fiction.
Here I tried to build fictions that look like instant pictures.