Icing & Thawing Wild Ikebanas
Photographs of iced and thawing drought -resistantwild flowers Ikebana, as a metaphor of world warming and disappearing glaciers.
The idea and I would say the urgency of this project, of frozen and thawed collected flowers, was born in the Tuscan countryside, in the drought spring of 2022, the hottest ever: desperate at the idea of the loss of the natural environment dear to me since childhood, I have only been able to do this, to physically freeze, in the freezer and in the image, the poignant poetry of wild flowers.
The name “Terroirs” is widespread among professionals and enthusiasts of quality wine products.
I could have called the project "Harvesters", but I chose the name "Terroirs", with a bitter irony, to stress the contrast between the name and whoever supplies the workforce of one of the most renowned products of the Winelands of South Africa. This open project, started in 2014, is still going in the Western Cape, mainly in the “Terroirs” of the Huguenot Valley. Here the workforce, is made up of black Africans, coming from various parts of Africa, not only from the Western Cape. The harvesters are recruited from intermediaries who usually do not collect but merely control the harvest.
Most harvesters are young women, who sometimes arrived with elegance and sensuality.
I found in them a sense of aggregation and belonging to a community, rather than an attachment to the territory.
I present the images in a non-chronological order.
In the early four years, until 2018, I mostly saw on the “terroirs” locally born people. Over the past three years, the arrival of workers from Malawi has sparked a wave of cheer that was lacking in Western Cape.
The project, started as a story of harvesters, 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.
W.W.W. ...... Who Watches Whom
I want to show my irresistible attraction for the spectacle offered by the spectators in all events.
In my work, the participation and intrinsec theatricality of spectators, which brings down the "fourth wall" between artists and the public, becomes my participation too, and puts me on the fil rouge that underlies the mass of spectators and unites us to the artists on stage.
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.
Almost slipped into the “custom of the different “, which is an effect of globalization, the Himba are back in the limelight since this year, 2020 - - the project of the dam on the Kunene River, dating back to 2008 and put on hiatus in 2015 - - was resumed: the dam would flood the areas where their flocks have been grazing for hundreds of years. The interests of a small minority - - between southern Angola and northern Namibia , very grossly estimated between 12,000 and 25,000 - - will certainly not arrest those of powerful economic organizations.
It is therefore very likely that photographing them is like photographing an endangered species.
The Himba are one of the few populations that has so far resisted Westernization and our way of life. Their approach to problems has a greater flexibility than our more routine habits: recent research has shown that when you assign a simple problem to the Himba and to a group of Westerners, the Himba are more cognitively flexible.