Notes on Photography (90s)

“In the encroachment of the visual construction, recounting with immediacy taking into account musicality and theatricality. Intensity.

Mine is a mediation between reality and thought. Images wanted, created as a sign of inner movement.

Take them away from reality to give them energy, place each object within the order, the map I drew for the completeness of the form as a celebration of the creativity.

All the photographs are inhabited by the form of the thinking, of the creative process, the quality of the idea to extend the boundaries”.


“In the photographs the mark remains, the scar, the symbolic image of my intervention, as an act of expression to escape from a reality that does not leave space for creativity, which I do not accept. As an extension of creativity in the flat everyday life, bypassing reality for a liberating adventure”.


“Reality and creativity, space and time, intermingle, stripping the object so that it shows the sign of both the visible and the invisible and the restitution of a vivified image in its form to make the creative moment last and tell itself to the reader. It is my expressive necessity, a need to create.


The courage of destroying reality for a formal creative construction of language in a new order, a reconstruction of signs motivated by the imaginary which inhabits my soul, to give stability to a changing reality”.


“I wish I could slide under the skin of things, to show the energy passing through my soul and the things around me”.


“They are concrete and real elements, images made of lines and colours as in a game, becoming energy of the gesture, tale, expression of the instincts, need to be”.


“Blocking what comes through my mind to get different forms, a new truth. A move towards fantastic energies that have the true sense of life, of my life. I don’t want to photograph things into images [mimetically representing the real], but to express the potential that overturns the real into poetry, the unpredictability. Space and places of transit of my ideas are the intuition and the daze. Existing in the present”.


“To me who uses a camera it is interesting to leave the horizontal plane of reality, to have the possibility of a stimulating dialogue so the images can have a unrepeatable breath. Rewriting things changing the sign, the usual knowledge of the object, to give the photograph a new emotional pulsation. The language becomes a trace, a necessity, a spirit where the form that emanates not from the outside but from the inside in a creative process. The blurred, the shaken, the grain, the burned white, the closed black are like an explosion of thought that gives duration to the image, so that it spiritualizes in harmony with the material, with the reality to document the interiority, the drama of life. In my photographs I wish there was a tension between light and blacks repeated until it creates significance.

Before taking each picture there is a silent exchange between object and soul, there is an agreement so that the reality will not come out as from a photocopier, but as if blocked in a timeless time to develop indefinitely the poetry of the gaze that is for me form and sign of the unconscious. Language is in this way the internal expressive consciousness that has caressed reality while remaining outside; it is the original moment that testifies to my own reality, a sample of the object taken under the skin, led outside of the rules for a freedom which is also an enlargement of the possibilities of reality”.


“Representing the unspeakable, he finds in this break his identity. Non-conventional signs but a distortion and daze of the subject with the decomposition of every order. Disarticulation for a rejoining of mine all within. Destruction and reconstruction in a recomposition, in a new order. The rules of the common language. The flows of the imaginary. An internal discipline”.


“I am not interested in repeating the visible things, but making visible what filters through my unconscious. My unconscious is in my photographic series. I not only want to tell the sensations and the moods that the poet’s words suggest to me, I ask that they are read through the visual construction in the infringement as they are there to be looked at”.


“Signs like light tension. Is like having emptied, carved the white out and filled it with dark. It’s an interpretation of darkness but also an instinctive interpretation of a figurative and abstract image at the same time.


The signs are wandering, they are returned as interiorized, overturned in a semiotic expressionism out of any naturalism as trace of a mood”.


“It’s the image formation (the process of creation) that interests me more than the form itself. Image formation is the filter of the ideas, of the unspeakable”.


“I do not want to avoid reality but I feel the need to move in other fields, to have other relations, other pulsations, to pretend to meet other things, to add and create other realities, other disguises to fill the space of the soul entrusted to the tension of this autobiographical period”.


“I experience my freedom, the unconscious forces to analyze my thoughts, to keep a trace on the surface of the image.


I take the forms from reality modifying it. I work on the encroachment through the gesture of choice, the breath of the sign that spiritualizes everything taking it with it.


The surface of the photograph becomes the past, daze and testimony of the moment, a silently withdrawal.


The withdrawal and the shifting from reality to imaginary fascinate me, because in this way the image is a creature of my own, and a duplicate of nothing”.


“I am interested in analyzing the thoughts in creative images, giving back the ideas through the vitality of the form, in the freedom that is transformation of all in consciousness, where I consume my delirium in consciousness. It is a big achievement for me when I manage to add reality to reality, where the space is filled with creative meanings, with surprise, where the past becomes present. Language as a representation of my interiority, in which new questions rise. I take the forms of the individual and unrepeatable life, overtaking reality for a further reality which is the unrepeatable reality of the soul”.


“To gain time I am writing some notes about my latest ideas that are growing inside me from the typography. In my latest photographs, naturally also in Landscapes, there are many apparitions. The object is always modified, but remains as a memory with the signs of the antique and present time, with a new memory, which is also that of the gesture, the movement, the document. It’s a formal representation of an interiority, which becomes an image made of light-material with a brand new skin, where signs and material are a necessary means to discovering the unpredictability. Exiting from perfectionism to also know and use the novelty in the randomness, something open, unexpected.

It does not matter whether one of my stories through images (tales including the Landscape) born from inside me, will last a moment or a century as I fell it lives for me forever as an interior invention.

My photographs do not represent things, they do not ask to be understood, but must be interpreted. I realize I shot the perishable gesture of life. I wish to give the story, in the traumatic flow of time that overwhelms me, a force which is the extension of my existence in the flattened space, to move away from the anonymous banality of life. For me the story is also a storehouse of energy, translations of sensations for other images that are new formulations of thought. Between me and the earth there is a magical relationship. The signs like calluses, like folds in the palm of a hand transform into tracks, a portrait of man’s work, of the earth as great mother, with the same willingness. There is also the sense of the shooting time that modifies and destroys all, thereby the object is like a landscape of the soul, land of ideas, transgression, encroachment of a code”.


“Instinctive disposition of signs, the inner soul of things.

The objects are vivified and therefore become timeless, reality becomes the image of reality, the image itself becomes reality that grows in another space, the mental, metaphorical space, that presents itself on the stage of life as communication, a plot that grasps the visible, causing the invisible to emerge to be looked at and to challenge daily life.

Everything becomes something else.

A new dimension of the glance that transfigures the object bringing it into an interiorized space, different, as the mysterious expression of the idea becoming image, language, meaning. The emotion of the mind regains the unpredictable sense of the past and the present, the moment to achieve the highest of creative expression.

The language becomes the environment within which the image breathes. I have a view of the times where I feel inside, I am certain of my being motionless, there is a sense of bewilderment. The image is a product of an inner faceless power that explodes within space.

I change the reality to give a sense to the subject. I decompose and recompose to signify.

There’s a dialogue between me and the object, stimulated by signs and spaces, reality and imagination in the possible relationships between the different moments, a dialogue suggested but not imposed by the nature of my sensitivity. I wish to free nature from its own burden, so that it will represent, as an interior form, the imaginary, the creative adventure, so that it will produce signs to return the values of an idea”.