I consider my project the result of different experiences that come together. This diversity arises from the encounter of two different visual languages. The first is the emotional experience produced by my photo shoot; the second language comes from the attribution of a pictorial detail of the past that is placed by me in that shot, giving life to a new body. In the finished work, thanks to a digital technique, the photographic image to be objective reality becomes dreamlike, because it shows the story of my idea of the place, of how it could be and how it becomes for me after the insertion of pictorial art characters, images that tell the new truth, the new life, the new objectivity. It is precisely these images of the pictorial past that become stronger than the real-objective image represented by the photograph itself. Objective, intention that underlies the whole series of works in my design path is to use the photo as a frame on which I “digitally” paint an image present in my mind and then magically rediscovered in a picture of the past. So these deserted places become my soul topoi where ancient characters come to life on the dead reality: a Van Gogh sky colors and illuminates the greyness of an old industrial laboratory; some ladies take a walk in the afternoon in the shade of steel trees belonging to an old industry (Surat); on an abandoned and worn-out entrance the mother tells her daughter about life in a tender exchange of traditions and experiences (Silvestro Lega).
1855 – Artois de Vienne said: “Before a century has passed, this (photographic) machine will be the brush, the palette, the colors, the skill, the experience; when the daguerreotype has grown, then the genius will grab it by the nape and will shout loudly WORKING TOGETHER!”.
I believe in it and I try.