… il nero, elegante e silenzioso, profondo, misterioso, è profilo e linea, ombra rimembranza e paura, è curva e confine, è terra fra le cui crepe filtra e corre la luce che come l’acqua in essa s’asciuga.
La luce, il primo bacio che feconda lo spirito, è negli occhi, nei sogni, è il lampo che tocca il mare, è polvere cosmica, argento liquido che vibra sulla pelle, è un suono ch’è già futuro.
Tabula rasa... di Nero e Luce si nutre il mio spirito, nelle strade dei monti, fra le pietre delle case, nell’ombra dell’acciaio, nell’universo silenzioso dei piccoli spazi, dentro al bianco fumo ribelle che sale nella luce vespertina.
Come amanti che si abbracciano così si fondono Nero e Luce, e di loro, fra la realtà e lo spirito, scrive il mio sguardo
La luce, il primo bacio che feconda lo spirito, è negli occhi, nei sogni, è il lampo che tocca il mare, è polvere cosmica, argento liquido che vibra sulla pelle, è un suono ch’è già futuro.
Tabula rasa... di Nero e Luce si nutre il mio spirito, nelle strade dei monti, fra le pietre delle case, nell’ombra dell’acciaio, nell’universo silenzioso dei piccoli spazi, dentro al bianco fumo ribelle che sale nella luce vespertina.
Come amanti che si abbracciano così si fondono Nero e Luce, e di loro, fra la realtà e lo spirito, scrive il mio sguardo
Prima dell’Oblio | 2023
Simmetrie Radiali | 2024
Pulvis Eris | 2023
Bufera | 2023
Silenzi Oscillanti | 2014
Fine dell’Indifferenza | 2021
Orditure | 2024
Lampo | 2023
Il Mito della Caverna | 2024
Geometria dell'Effimero| 2024
Il Guerriero | 2023
About the Project
My shadows come from afar. I have been fascinated by them for a long time, although this is obviously not an exclusive interest of mine: many photographers before me have explored them. This work is the direct result of that deep bond with the shadow that has always inhabited my creative research.
The body of works I will present in this Berlin exhibition—eleven images drawn from a larger project that I still consider open—stems from an intimate revelation. The initial spark came while observing dark figures in backlighting, but the decisive moment was my visit to some recent editions of the Premio Fibrenus, a prestigious international fine art printmaking competition that has reached its fortieth edition, linked to the historic paper-making district of the Fibreno. During these visits I felt a growing interest that led me to delve deeper into the history and techniques of this ancient art. Within this same journey, watching a documentary on Giambattista Piranesi, with its violent contrasts and the deep, dramatic blacks of its architectural views, marked the concrete beginning of the project. From that fascination with dense, engraved blacks came a purely poetic realisation, centred on absolute contrasts and dramatic passages. Through chemical photographic development on matte paper, light and darkness cease to be technical data and become primary matter to be carved and layered, like grooves incised on a plate. The shadow refuses its role as a passive void and becomes a living space, memory and mystery, in an inner journey where photography sheds its documentary function to become pure sign and evocation.
The body of works I will present in this Berlin exhibition—eleven images drawn from a larger project that I still consider open—stems from an intimate revelation. The initial spark came while observing dark figures in backlighting, but the decisive moment was my visit to some recent editions of the Premio Fibrenus, a prestigious international fine art printmaking competition that has reached its fortieth edition, linked to the historic paper-making district of the Fibreno. During these visits I felt a growing interest that led me to delve deeper into the history and techniques of this ancient art. Within this same journey, watching a documentary on Giambattista Piranesi, with its violent contrasts and the deep, dramatic blacks of its architectural views, marked the concrete beginning of the project. From that fascination with dense, engraved blacks came a purely poetic realisation, centred on absolute contrasts and dramatic passages. Through chemical photographic development on matte paper, light and darkness cease to be technical data and become primary matter to be carved and layered, like grooves incised on a plate. The shadow refuses its role as a passive void and becomes a living space, memory and mystery, in an inner journey where photography sheds its documentary function to become pure sign and evocation.
