The series was taken in Senigallia over a 4 year period, starting the year of the death of the artist’s mother. The protagonist is a relative, through who Giacomelli retraces all the places of his photography and his life. The autobiographical intensity is very strong here, or better still the state of con-fusion between the author and the photographic subject makes it possible that the subject is his alter ego. This is a series in which all of Giacomelli’s tension towards the reunification of the Whole is evident, beyond the distances, the definitions and the lacks: it is evident in the annulment of the time difference of the events, considering that the protagonist represents le trait d’union of all the times and spaces occupied by the photographer during his life, and that the photographs bring with them elements that re-emerge from the past (from a series 20 years prior: Caroline Branson from Spoon River), like the black floating long hair or the bare branches which merge with the protagonist of the present. It is interesting to note that the floating hair photographed by Giacomelli and repeated in the two series, belong to the artist’s family story, being his daughter’s Rita hair as a child (beginning of the 60s). In this series it is interesting to see the significant repetition: the face and the body of an inexistent subject, which often repeat in series, superimposed every time with different places from the past (places also repeated). Giacomelli writes in the 90s: “Language becomes the environment within which the image breaths’. I have a vision of the times where I feel inside, I’m certain of my being inert, there is a sort of bewilderment. The image is a product of a faceless inner strength that explodes in space. I change the reality to give a sense to the subject. I decompose and recompose for meaning’ (Mario Giacomelli, writings of the 90s, in Mario Giacomelli. Under the skin of real, Ed. 24 Ore Cultura 2011).