A photographic trace that no longer just records reality, but stages mental constructions born from real objects assembled in the dark. In these uncertain spaces of light, the viewer is invited to complete what is only hinted at, recovering a childlike sense of wonder. Here, humanity reappears precisely when control is lost, opening a new, secular humanistic dimension.
Photography represents a trace of reality, a captured experience. “What was there in place of photography, before the invention of the camera? The obvious answer is: engraving, drawing, painting. But the most enlightening answer would be: memory. Previously, the function of photography was carried out by the mind.” So wrote John Berger in his book About Looking.
But of what kind of reality is photography a trace — a reality that continues to exist, and not simply the memory of it? And, following this line of thought, what changes in our perception when reality itself is no longer within sight?
To suggest this double uncertainty, I tried to think about the place of the image, the place where doubt takes shape and settles. From this space emerge both the reality of doubt and its metaphor: imaginary cities, invisible projections, constructions of the mind — all created from real objects assembled in my studio, which no one will ever see.
2022 The Shadow Aspect, Juror Sandra Chen Weinstein, Praxis Gallery, Minneapolis, MN, USA
2018 Illuminate, curator Peggy Sue Amison, The Center for Fine Art Photography, Fort Collins, CO, USA
2017 Sequenzen, Arte contemporanea incontra Art Brut, Galerie Tacheles, Gmunden am Traunsee, Austria
2017 Sequenze Italia, Arte contemporanea incontra Art Brut, Palazzo Ducale, Sabbioneta, Mantova, Italy
2017 Chronos, Città Invisibili, curator A.Madesani, Sala del cavallo, Cologno al Serio, Bergamo, Italy
EDITIONS of 3+ 2 ap
Giclèe prints on cotton paper all made by the author
