1989, Foggia (FG)
SHUDDER NO MORE (2016)
The place caught in the shots isn’t a defined and particular space, but becomes an ideal and undetermined one, from which you can behold fragments of stories that have neither time nor space. The analogical medium, through its materiality, conveys a search for extreme authenticity: in fact the project has been driven by the moment and by instinct, without any premeditation. The black in the shots is absolute, it almost erases the image, but it’s necessary, it constructs the image and allows its persistence despite time. Time from which these images have been stolen from, through the liberating act of taking the shot, capturing the moment a second before it disappears.
“SE NON DOVESSI TORNARE, SAPPIATE CHE NON SONO MAI PARTITO” (2016-2017)
Contrast is the key element from which one should analyse the entire work: everything is seen and considered in relation to its opposite. The work itself was born from a conflict: the love for a place and the decision to abandon it. The images try to catch one last caring look back, before leaving. A caring gaze because it encloses everything in a delicate and golden light, yet harsh one because it dwells on the cracks of the streets, the ruins of a farm, the construction yards, revealing a crepuscular suburban reality. The warm and familiar interior images act as a counterpart to the outside. The figures face the outside world, protected inside their homes, still they are surrounded by the harsh reality that is beyond their windows. These pictures try to depict the aching gaze of someone who was shaped by these suburbs and is indissolubly bound to them, but, somehow, betrays it by walking away from it. The title, which may be translated as “Should I never return, remember that I never left at all”, quotes a poem entitled Note left before not leaving by the Italian poet Giorgio Caproni. The poem expresses the same tension between leaving and staying that these images try to capture.