The series Scenario starts from a premise: the impossibility of defining an absolute truth in our experience of reality, because the real is not objective, but composed of visible and invisible parts, of matter and spirit, as we are. It is a subjective experience, defined by what we lived, by memory, by the social and cultural context in which we find ourselves, and by the codes that unite us.
It is through our relationship with space that we define our knowledge of reality. The construction of a space allows us to determine our being here and now; through the body we inhabit and its spatial relationships we leave our traces over time.
What interests me about an image are the infinite possibilities of interpretation it can provide, the perceptive mechanisms, everything it can carry within it, like symbols, references, traces of infinite mappings, so that everyone can extract some codes and try to interpret them differently and freely. An image, to do this, must be like reality itself, a sum of stratifications of space, time, of what is easily perceptible and what is not. Like a space-time window, which, thanks to an ambiguity, a mystery, disturbs and makes us feel lost, without connection with the usual references; it forces us to ask ourselves different questions. Photography intended as a simple document of what we see fixes a memory, but for me it is not enough to suggest, to open doors and windows. I act like a collector of these fragments of experience, bricks for the construction of a more complex world where to install oneself; I create a possible new scenario and invite the viewer to enter it, to make it his own, to continue the narration in a sensorial and intuitive way.
Scenario carries references to fiction and staging to represents the intention to create an architecture of the invisible, a theater of the possible, of the infinite facets of reality, without imposing a univocal and easily recognizable truth. The work contains references to Breton, surrealism, metaphysical representation, Freud’s theories on the unconscious and the interpretation of dreams. I stage fragments of perceived reality, of personal experience, and reconstruct new hypothetical realities. The photos become objects, spaces, walls, floors, a three-dimensional place where we can enter. They propose a new hypothesis of space. I build images that are in themselves performative actions, the results of an experience and sediments of a construction. There is never digital manipulation; the process used is always analog and must be so: it is precisely in the very gesture of manufacturing, in the physical act of putting these fragments together, as a metaphorical manipulation of the various visible and invisible elements of reality, reassembled and reconstructed, that a sensitive experience takes place and is then transferred into the image.