"Two old printer's drawers become containers of memory: in one of the drawers, the spaces where lead characters were stored house fragments of old letters of private correspondence, and in the other, fragments of reduced-pitch films of private or famous films. They are relics of personal memory as part of a risky as illusory attempt to revisit the past.
Time – so important in photography, indeed substantial to the nature and practice of the photographic act – becomes the mirage to be pursued as it has been configured in my long path of photographic research concretized in the work Imago. Indeed, the other works in this selection belong to this work: figures made elusive, often evanescent, by the blurring technique. The human presence is thus charged with a precariousness in stark contrast to the certainties of our perception of reality: the visual transience of the figures seems to want to dilate the perception of time, which can no longer be that crystallized by the fixed image but takes on the physical and temporal space of the happening in progress. An event-this temporal dilation through the moved human figure-that tries in vain to tame what belongs irretrievably to what has been, to the past. The circle seems to close with the two typographic drawers experienced as a concrete act – even in their material physicality that transcends photographic reproduction – of an extreme and desperate attempt to reunite past and present. "