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.
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Between 2007 and 2017 I photographed passengers in buses and trams, drawn to a particular state that appears when people are transported — a suspension between departure and arrival, when the body continues its route while attention wanders elsewhere.Public transport once held a quiet, shared reverie. People watched the city slide past, followed reflections in the glass, rested, or remained folded into their own thoughts. Sometimes the anonymity offered by the large city allowed couples small gestures of closeness — a shoulder leaned upon, a whispered word, a kiss — brief tenderness sheltered inside the moving crowd.
During that decade I felt this interval slowly changing, as scrolling began to occupy the same empty time.
What began as observation gradually became a record of disappearance.
The individuals are not portrayed as characters but as presences temporarily detached from their surroundings — sometimes attentive, sometimes withdrawn, sometimes absorbed in each other.
