In my adolescence, I became convinced that in the novel, more than in the news, there was the most intimate truth, the one that can interest and persist. As I matured, realized that the truth is multiple and subjective, and he transferred this idea to visual imaging.My first great passions were novels and cinema.Photography followed soon, linked with cinematic visions.
Seeing the works of HCB and other humanist photographers, such as Erwitt Elliott and Richard Kalvar, enriched my love for photography as an “other” reality, I was soon captured by the chromatic suggestions of light, seeing the photos of Haas, Pinkhassov and others, suggestions that often return to his vision. I would to communicate to the "readers" the poetry, rather than the hardness, of life.
A large part of my images is born in the observation of human life, with its contradictions, passions, difficulties and inequalities. My projects therefore present life as a whole, real and surreal. My preferred vision of people is cinematic.
As a non-politicized and non-violent protester, I turn my empathic gaze to oppressed minorities, but always with a smile and tenderness. Finally, in W.W.W. I speak in images of my relationship with other exponents of the human race. I quote the great Russian director Tarkovskij, who wrote that art is among other things a manifestation of our dependence on others: the performer on the stage depends on the spectators, the spectators depend on me as a photographer, without me they would not be revealed to the world. I in turn depend on the performer, without him I could not create the photos of the spectators.
I recently reached a turning point, probably due to social restrictions for pandemics, in which moments of reflection exceed those of the exploration of others. In this phase, two projects were born: “Icing & Thawing Ikebana”, a metaphor for global warming; “Eros & Power”, an anthropomorphic vision of the two strongest drives of the animal kingdom.