Inter- human Statements

           

Terroirs

            (Juror's pick selection LensCulture B&W Awards 2021; Monochrome Award 2022; Grand Prix Paris Photo, 2022)

The project, started as a story of harvesters in South African Western Province, directed soon  to transmit  to represent their resilience and humanity. In photographing, I am very interested in the theatricality of human actions: in this project, the harvesters' performances have the fields and mountains of the Winelands of South Africa as their fifth and backdrop.

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The  Last Ritual

(Commended in Tokyo International Foto Awards 2022)

The Italian director P.P. Pasolini considered football "The last sacred ritual of our time". This ritual also inspired Paolo Sorrentino's recent film, "The Hand of God". The hand of God is otherwise invisible, just as the object of desire - - the sacred ball - - is not seen in my images.

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            W.W.W. ...... Who Watches Whom

              (Winner, IPA Photobooks 2021, Category People )

 Many photos from different music or sport events are assembled together for a physical "fusion : I want to emphasize the importance of real encounters, as opposed to "social networks", result-cause of social distance.

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Vertigo​

I feel a particular intoxication in even moderate altitudes, because in my childhood I loved climbing, and once I fell from a branch. It took me several years to climb back up without feeling a helpless vertigo, which has now turned into a subtle pleasure, like tasting a forbidden fruit.                                                              

 

Minority Report (2014)

Minority Report (2014)

Minority Report reflects on the fragile position of the Himba communities of northern Namibia and southern Angola, whose pastoral way of life remains closely connected to land, water and livestock.

Frequently transformed by tourism into objects of curiosity and reduced to an image of cultural otherness, the Himba also face pressures that extend far beyond tourism. Development projects along the Kunene River have repeatedly raised concerns over access to ancestral grazing lands and the continuity of communities whose lives have been shaped by this territory for generations.

The photographs do not attempt to portray a culture as fixed in time, nor to preserve an image of an “untouched” people. They observe instead the tension between continuity and change, cultural identity and external forces, asking what happens when the interests of a small community encounter economic and political powers operating on an entirely different scale.

What is endangered is not an image of the past, but the possibility of determining how a way of life may continue and transform.

 

Game Over (2010)​

My first open project to be started in digital photography, born in silence and solitude, in the mountains of Trentino: it wanted  to show  not the nostalgy, but  the emotional strength of youth, which is not "lost", but regained with the imagination.

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 Lies (2012)

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Billboards do not interrupt the landscape.
They replace it.

Faces, bodies, and promises of success occupy visual space until they become more present than reality itself.

The landscape is no longer a backdrop, but a surface onto which desire is projected, repeated, and normalized. It is no longer represented: it is incorporated.

Images do not represent the world.
They anticipate it and impose it.

These images do not document advertising, but its assimilation into reality.

Billboards do not sell objects. They sell states of being.

In this fusion of nature and visual construction, success appears inevitable—almost biological—and therefore profoundly artificial.

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Blue

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Blue is not simply a colour, but a state of perception. It slows time, softens reality and transforms ordinary moments into quiet spaces of contemplation. Made almost entirely in the Philippines, this series explores the emotional resonance of blue, occasionally interrupted by the vital energy of red.

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