Willoclick

Rotterdam 2018 I look for visual potential in familiar environments, repeating the usual rituals. I travel the same streets and squares of the city several times, pushing my sight beyond the known, because my research is not projected outwards but inside me. I discover new visions thanks to new ways of seeing.

Leidsche Rijn 2017 The photographs come looking for me. I can't let myself be guided exclusively by an intellectual project, by an idea created at the table. This is how usually works: once we have identified the message we want to get through, we work to convey it in the best way. That is, the vision bends to our thinking. But you can also abandon yourself to the reverse process. Here I am waiting, ready to listen to the message of Manifestation, and to act as an intermediary thanks to the art of seeing. I am not trying to compose a landscape following the compositional rules and expectations of a client, but I am trying to recompose the melody of Creation, hoping not to clash.

Utrecht 2018 The images are stories of things eroded by the unconscious dance of modern man. The way to liberation is a road made of negations, of dead ends. This is why I want to point out the cumbersome legacy of a society that sinks deeper and deeper into the trap of individualism. Fighting against conflict, separation and ignorance is the only necessary struggle, a non-violent and conscious battle, fought with words and images of truth. Truth is like when you open the windows and let the light in.

Utrecht (2017) Until the day I started taking pictures, my perception of the past, and therefore of life, has been probably very different. If the person is nothing more than an approximated ordered accumulation of memories, those not supported by images will be significantly different from those frozen by a camera. Until 1992, when I borrowed my father's Handycam to shoot some videos with friends, I have imaginative memories of my relationships, and it is known that the essence of life is in your relationships. Those people that I have never portrayed have not vanished, but in my mind they have taken on a decidedly different aspect from reality, becoming less exact from a physiognomic point of view but more intimate, more multifaceted. Of them there is not only my visual experience diluted over the years, but also a specific sensation that is like a sort of composite impression, made of the multiple aspects of the person: the voice, the body language, the smell, but above all the ...

Gate on the sea - Baia Toscana (2017) "Normal photography" is for me an attitude, a condition of the soul, not a technique or a style. It is a gesture that begins as a reaction but becomes controlled and deeply aware over time. It is to satisfy the need to record one's own vision, no matter whether for fun or artistic research. It is a sequence of intents, a flow of movements that starts from the recognition of the scene, goes on with a thoughtful technical execution aimed at its acquisition, and ends with the slight touch of the shutter button. It is an act in itself, a harmonious flow, the fairest epilogue of a happy discovery. Have you ever tried to combine meditation and photography? It is a bit like focusing on yourself before you do it with your lens. I invite you to find your method. When you are standing in a crowded place, for example, full of impulses, and saturated with potential creativity, it can be difficult to recognize the decisive moment through that much...

Intubated - Hannover (2014) By expanding awareness we lose definitions, the dividing lines disappear, forming indefinable images, perhaps blurred. I don't have a real opinion on what I see. I can say that I recognize the strongest images, but none looks to be more important than another. The strength of one is based on the weakness of the other. And in any case, each snapshot testifies the flow of observation-clipping-reproduction, which as a whole defines a convergence of intent. I am not interested in an objective reading of the photo. Each image has a different function depending on the context in which it is read. It doesn't have to hit. It can also go unnoticed, leave you indifferent, remain silent. Yet its time will also come. It will have its function, which will inevitably deal with memory.

Saint Ilario's Ruin (2016) There are places where sensations are strong and to watch is like a prayer. They are those places that evoke silence, which is not only the arrival point but also the departure of what is manifest, which however illusory might be, it's essential to the research of Reality. The truth is shown only after the fall of what is false. The swinging of states of sleep and awakeness, of full awareness and illusion, of life and death, in a condition of apparent dualism, is perhaps the last experience before dissolution in the Absolute. As long as we belong to a state of movement, it is good to recognize the bases on which manifestations rest. Silence is the melting pot of expressions.

Iron Fence - Dublin 2015 The quote is always in the air. For a photographer, it is always near a fence ... It is a way to "hold fast" to the strength of an image that has made history, and to that all-too-rigid message of separation on which perhaps all rhetoric on photography is based, the apparent separation between the observer and the observed. In reality, there is no division. I am not simply the observer but the very principle of observing, which would not take place without the presence of the observed. So the fence is just a deceptive concept of the dualistic world, and perhaps the time has come to let go, and finally get rid of this false idea. The image remains, as a not caused event.

Lisbon 2015 "I remember well standing at that one window and just watching the flow of life," said Dorothea Lange, and the phrase reminds me the methods of self-observation and meditation so essential in a spiritual path. Looking at ourselves from the outside, observing the thoughts and frenetic activity of our mind, framing, selecting, archiving these mental events just like images, is the way to silence. And in silence awareness arises. From a window in its widest sense (an overpass, an elevated terrain, a privileged position ...) the photographer observes the flow of life and by carving it out, he tries to make sense of it. At the same time, the spiritual path passes through the inner observation, and the similarity of the two rituals is absolutely not accidental. Spiritual activity is based on looking, which is apparently a passive modality, but that in fact produces great changes. Beyond the objective, the road unwinds towards the horizon, an unchanging asphalt carpet on...

Man on the bench - Lisbon (2015) Spoken photography in exchange for a tsunami of images. Reducing the selection to the bone to explore in words the place where all this comes from. I have a particular relationship with almost all my photos: I find them indiscriminately significant but superfluous. Some of them can stand alone, but most of them only make sense when they are part of a stream. Travel, both as a metaphor and as a real event, is often the main theme I pursue. Light is an option that I can't always afford. I purposely leave it to chance, but it is part of the attitude of acceptance that underlies the Eastern spiritual discipline. The idea of control is a deception. Who really has control? The finger muscle on the shutter release button, or the eye attached to the viewfinder? The events chased or those that surprises you? The technical and cultural training or the innate ability to know how to break the rules? Be that as it may, an image remains stuck on the sensor, ready...

Twisted Tree - Malta (2014) There is the photographic act, the slow and pleasant wandering with the camera around your neck (in my case, clasped in the right hand), the art of watching and cutting out each scene to a rectangle in your head, the search for subjects, backgrounds, colors, the main characters, a happy and profound involvement with the scene. It is a sort of liturgical contemplation, a respectful homage to the Witness. It is undoubtedly the highest creative act. Actually, it could even take place without a memory card, clicking freely without having to preserve the prey, and perhaps leaving the image free is all that would be left to do... or maybe not. To go back to those places, those scenes, in the safe environment of your living room, and look at everything from a new point of view, the technical one, the one conditioned by the rules of thirds, the cuts, and the infinite possibilities of post-production. A new way of expressing one's creativity, perhaps less profoun...