In the series Il limite, light is the focus of my interest, and the object-place is seen in an intentionally non-analytical way: what dominates is not the “definition” of the place, but the diffused light. These are neutral images that arise from being there in that landscape, like something that has always been present, suspended in time, mythical.
In the series Bretagne, I was interested in the repetition of a simple element, some poles along a trail – the persistence of a minimal image, with slight shifts that recall the act of “walking alongside.” At the same time, in composing the sequence, I wanted to give the idea not so much of our movement as of our
glances, the mobility of seeing. In Île de Ré and Tavolara I used composition in sequence – five, six, eight images, and on several planes. In Île de Ré I wanted to avoid following the “reading” movement that we tend to appropriate from the landscape in front of us, a sort of logical code or a constant direction (typically left to right, as in reading). Instead, I aimed to maintain the leaps, the mobility, of perception.
