"Where Fireflies Unfold"

- Cuneo, Piazza Galimberti -

Where Fire ies Unfold is a long-term project that began in 2016 and was completed in 2022 consisting of 55 color photographs. The initial premi-se has been to be able to have an exhibition body of a certain magnitude and the possibility of making a photobook.

Deleitosa is my village. It is located in the province of Cáceres, in the region of Extremadura in Spain. Here my parents, grandparents, great gran-dparents and other ancestors were born, going back through centuries of family genealogy. Deleitosa was the village that Eugene Smith choseto realize in his photographic essay “Spanish Village” that was published in the American magazine Life on April 9, 1951.

Far from showing the perceptible appearance of Deleitosa or some of the visual references linked to what was a photographic icon of the socialand economic backwardness in Spanish rural society, my gaze has some subjective nuances linked to a series of experiences, places and personalmemories. Reminiscences that have endured as apparitions in my memory. Images that intermingle episodes that oat in my imaginary with thenew realities that coexist in the village.

There is an emotional need to re ect on the territory of which we are part. To explore our identity in the echo of the places that still speak to us,or in the absence-presence of the people and beings that inhabit them. To form a visual interpretation that evokes the mystery that manifestsitself in everyday rhythms, in the poetic condition that underlies the strange.

1.Threshold (Deleitosa, 2016)
2.Seeds (Deleitosa, 2016)
3. Déjàvu (Deleitosa, 2016)
4.Duality (Deleitosa, 2022)
5.Hidden (Deleitosa, 2016)
6.Inside (Deleitosa, 2016)
7.Clairvoyant (Deleitosa, 2021)
8. Thesnitch (Deleitosa, 2021)
9. Thezone  (Deleitosa, 2017)
10.Twilight (Deleitosa, 2021)
11.Signs (Deleitosa, 2018)
12.Metamorphosis (Deleitosa, 2022)
13. Deepinside (Deleitosa, 2022)
14.Sighting (Deleitosa, 2021)
15.Sneak (Deleitosa, 2017)
16.Twins (Deleitosa, 2018)
17.Mutation (Deleitosa, 2019)
18. SantaTeresa (Deleitosa, 2017)
19. Appearance (Deleitosa, 2018)
20. Ulterior (Deleitosa, 2016)

"Everything will come from the sea"

- Cuneo, Parco Fluviale #1, infopoint -

Everyone at some point and whether they are children or not so children, we have allfantasized about the possibility of landing on a desert, mysterious or paradisiacal island. Storiesof pirates and hidden treasures, of escape and permanence.

Throughout history, literary works and artistic representations have turned "the island" intoan ideal center on which to display the creations of the symbolic imagination, a landscape that isloaded with incomprehensible, transcendent, unconscious or emotional.

Sometimes as a space of utopia separated from continental reality, on which to projectideals and chimeras. On other occasions as a symbol of intimacy, highlighting a desire to mergeor integrate into sensory realities and finally as the flow of a human adventure.

Tabarca is the smallest inhabited island in the Mediterranean, located 11 miles from thecity of Alicante and only 1,800 meters long and 400 meters wide.

King Charles III, in 1760, ordered the island to be fortified and populated with 296Genoese captives, rescued from Muslim power on the ancient Tunisian island of Tabarka. Autopian project to create a self-sufficient island. Currently, on the island of Tabarca we still findheirs of those Genoese who maintain their Italian surnames, such as Luchoro, Chacopino orRuso, among others.

Today Tabarca has become a tourist attraction with about 4,000 tourists disembarkingdaily in the summer. The rest of the year, it has 50 registered inhabitants, of which only about 10live there all year round.

Starting from the evocative power of the concept "island", "Everything will come from thesea" explores the multifaceted dimensions of insularity using photography as a tool of dreamingand reality, where I reinterpret the island landscape and its inhabitants, with the premise of stayingand spending the night. in it outside the holiday period.

A view from the island with a point of separation from reality, which questions ourperception of the landscape with the double tension that the sea imposes, a centrifugal impulse,of departure and search and the need to return, to return inward, towards the island that each oneof us is.

1. Vecchia mappa dell'isola di Tabarka al largo della costa della Sardegna
2. Autoritratto, guardando verso Tabarka, Tabarca, Spagna.
3. Viaggio verso l'isola, piove mentre i gabbiani mi accompagnano, cinque miglia dall'isola, Spagna.
4. Piccola barca a vela con bandiera genovese, che ricorda le origini del suo armatore, Tabarca, Spagna5. Senza testo
6.Senza testo
7. Ieri sera a Punta Falcón di fronte all'isolotto La Nau, e in linea retta la Sardegna, Tabarca, Spagna.8. Un tesoro trovato; Pietra dorata sulla spiaggia, Tabarca, Spagna
9. Decorazione nella casa del governatore, Tabarca, Spagna
10. Un vecchio acquario abbandonato in un ristorante sulla spiaggia, Tabarca, Spagna
11. Vecchia barca a vela quasi coperta da posidonia, porto di Tabarca, Spagna
12. Rafaela Lopez Ruso passeggia lungo la costa, il giorno della processione della Virgen del Carmen, Tabarca, Spagna
13. Madonna dello Schiavo, situata presso la Porta San Gabriele, Tabarca, Spagna in omaggio alla Madonna dello Schiavo di Carloforte, Isola di San Pietro, Sardegna, Italia
14. Ritratto di Manuel Ruso pescatore in pensione, Tabarca, Spagna
15. Si dice che gli isolani concentrino la loro attenzione all'infinito. Un gatto, Tabarca, Spagna
16. Una lapide abbandonata all'esterno del cimitero, dopo i lavori di ampliamento. Tabarca, Spagna.
17. Ritratto di Gloria e Felipe, Tabarca, Spagna
18. È inverno e sto viaggiando da solo verso l'isola, a due miglia da Tabarca, in Spagna
19.Senza testo
20. Ritratto di un angelo, cameriere al ristorante Anita,Tabarca, Spagna
21.Ritratto di un angelo, alla porta di San Rafael, Tabarca, Spagna
22. Immagino Robinson Crusoe davanti a un'impronta, Tabarca, Spagna
23. Scheletro di fico d'India vicino al faro, Tabarca, Spagna
24. Un ragazzo nella Cala de la Guardia, Tabarca, Spagna
25. Ritratto di Tere e Mac, ritornano nella penisola solo in inverno, Tabarca, Spagna
26. Il faro dalla costa, Tabarca, Spagna
27. Il "grande capitano" una cernia. Catturato sulla costa di Tabarca, vive ora nell'acquario di Santa Pola. Si stima che abbia 40 anni. Santa Pola, Spagna
28. Autoritratto di "un naufrago". Grotta dei leoni marini, Tabarca, Spagna
29. Ritratto di Reinaldo Thielemann, artista a Tabarca, Spagna
30. Un gabbiano tra il cielo e la mia macchina fotografica, Tabarca, Spagna

"Riturné"

- Cuneo, Parco Fluviale #2, infopoint -

Riturné (Come Back in Piedmontese language) is the attempt to maintain and preserve a living connection with a past thatis becoming history.Freezing small fragments before they melt, because everything is impermanent.

The exploration of the relationship between man and territory, the own personal conflicts, theidea of family and belonging. Is the reality in which I grew up complete with its people andtheir beliefs.

This project is a journey into the inner self through the return to the homeland: the provinceof Cuneo, in the northern Italian region of Piemonte, the need to establish a new connectionwith it after many years living out of the country. Looking for an identity in harmony andadmiration with the natural environment.

Memory, absence, home. What is gone and what sooner or later will also disappear.

Growing up in a small village, close to the Alps, my agricultural background and love fornature have been guiding my interests and my steps as a photographer towards themeslinked to the rural landscape and all forms of life related to nature.
The everyday and the ordinary life in a creative process influenced by being outdoors andexploring my own environment, the essential of our existence, without any geopoliticalboundaries.

1. Albero con edera. Cuneo, 2022
2. Spaventapasseri. Cuneo, 2023
3. Cicatrice. Cuneo, 2023
4. Pigeon. Cuneo, 2023
5. Padre. Cuneo, 2023
6. Vite. Cuneo, 2023
7. Vestimenta. Cuneo, 2024
8. Papá. Cuneo, 2023
9. Acquedotto. Cuneo, 2024
10. Pero. Cuneo, 2024
11. Vitellino. Cuneo, 2024
12. Tovaglia a fiori. Cuneo, 2024
13. Elsa e Patrizia. Cuneo, 2022
14. Madonna con Bambino. Cuneo, 2022
15. Allattamento. Cuneo, 2023
16. Grangia Certosina. Cuneo, 2022
17. Albero di Natale. Cuneo, 2024
18. Robi Canún. Cuneo, 2022

"Hestia"

- Madonna delle Grazie, Nuovo ACLI -

So close to us there is a world in which living is a daily challenge. People on the margins of society seek temporary or lasting shelter, other people abandon it to move and look for their family or a better life. This project takes the name of the Greek goddess of the hearth, with it I delve into the sacredness of living, touching on the lives of those who do not have a home. In a period in which I nd myself reconsidering my concept of home for the birth of a child, I stratify autobiographical ideas with images produced during my latest travels. Without violating the threshold I try to re ect on the condition of those who should have the right to adequate shelter, also turning my interest to the nature that surrounds us. Perhaps we should sharpen our gaze to better understand the nuances of this reality so close to us, so easy to see and ignore. The photos of the project are mostly square, having been taken in 6x6 lm format, the square takes me back to the ancestral symbol of the home. “Hestia” was born in Athens at the beginning of 2024, which is why it borrows its name from Greek mythology following its evocative potential. However, it collects thoughts that reached me years before, in Ventimiglia when France closed its borders to migrants and in Venice when I met an important person who lived in the streets. I returned to some places that struck me some time ago and at the same time I started documenting the situation in a small way, near my house, near the river. This is the material I present to you now, the intention is to make it a long-term project.

1. Athens - Casa di una tartaruga, Atene, gennaio 2024
2. Athens - Tramonto in Atene nord, gennaio 2024
3. Athens - Atene Nord, gennaio 2024
4. Resilienza di un albero, Ventimiglia 2024
5. Madrid - Abitazione in una piazza, Madrid
6. Cuneo - Porta immaginaria vicino al fiume, Cuneo 2024
7. Marocco - L'ingresso di una casa vuota, Marocco
8. Cuneo - Natura morta in una casa non più abitata,
Cuneo 2024
9. Cuneo - Mia madre, ricordi di chi abita il mare, Cuneo 2024
10. Cuneo - Un riparo prima della nascita, maggio 2024
11. Cuneo - Una casa nel bosco, Piemonte 2024
12. Un riparo nel parco, Madrid 2024

"Where the wild things went?"

- Bombonina, Chiesa di S. Matteo -

Between 2006 and 2021, Italy lost 1,153 km2 of natural soil, with an average of 77 km 2 per year. Emilia Romagna is the fourth region nationally for land consumption, with 635.44 hectares lost in 2022.

Land consumption is a process associated with the loss of a fundamental, limited and non- renewable environmental resource, due to its occupation by artificial elements.

In less than 50 years, 60% of wildlife populations have been lost and half of the total area has been transformed into agricultural land.
Pristine, wild places are disappearing at an unprecedented rate.

I decided to examine the Riviera Romagnola: an exploration of the coast, a journey from Casalborsetti to Cattolica, to understand how much human activities have transformed this area. Walking along the beaches it is now difficult to imagine what the landscape was like before the tourist boom, which brought with it an almost endless series of establishments and hotels.

Human interventions have led to the alteration of ecosystems, specifically the loss of woods, meadows, wetlands and related wildlife. The percentage of urbanized coast in the Ravenna area is equal to 60.5%, in the Rimini area it reaches 87.1%, while in the province of Forlì-Cesena it reaches 96.1%.

Construction projects continue to proliferate in this area, despite the fact that there are many structures and buildings that have been abandoned and left in a state of abandonment, such as marine colonies: there are 246 of them, scattered throughout the coast.

In Emilia Romagna, land is also taken away from protected areas (plus 2.1 hectares in 2022). In the Ravenna area, the few remaining wild areas are almost all located close to the chemical-industrial center, so the "non-contamination" of these places seems unlikely. The release of polluting substances leads to the depletion of nutrients, giving rise to eutrophication phenomena. Without water, nutrients and biome the soil dies, erodes, and eventually becomes desert.

1. Marina di Ravenna, ex impianto chimico
2. Milano Marittima (RA), ex colonia Varese
3. Cesenatico (FC)
4. Misano Adriatico (RN), appartamenti Porto
5. Porto Corsini (RA), centrale termoelettria
6. Misano Adriatico (RN), appartamenti Porto verde beach

"Lassù dove spiccano i baleni"

- Ronchi, angolo via Pollino e Via Chiusani -

Lassù dov e speca e balen”, translated into Italian from the Romagnolo dialect spoken in the Tuscan-Romagnolo Apennines, means “Up there where lightning born” and is a dialectal expression indicating thatthe person or thing being referred to is far away, in a difficult and dangerous place.

In the heart of the Casentino Forests National Park, the intertwining of man and forestmanifests as a profound and ancient bond. Each ruin, mule track, and country chapel tellsstories of life and sacrifice, weaving a mosaic of solidarity and deep connection withnature. These silent remnants preserve memories of when a man found refuge among thetrees, riding the mysterious flow of energy that permeates the forest. A deep bond,though invisible to untrained eyes, calls attention to the beauty of a lost equilibrium andinvites us to preserve and celebrate the wisdom of nature.

1. Tavolo con muschio, le Putine - Casanova dell'Alpe
2. Archivio Fotografico della Romagna di Pietro Zangheri, patrimonio pubblico del Parco Nazionale delle Foreste Casentinesi
3. Felce su muro. Campo de' Peri, Casanova dell'Alpe4. Foto album famiglia Ciagli/Selmi, Montemignaio. Overlay con Faggio secolare che da circa 300 anni domina la valle del Tramazzo
5. Cavallo selvaggio con rudere. Pian Barruzzoli, San Benedetto in Alpe
6. Rovi, Val del Melo. Verghereto.
7. Foto album famiglia Vizzi/Anghiari, Pratalutoli. Overlay con Castagno Miraglia di 300 anni. L'albero è ritenuto il più grande esemplare di castagno della Toscana ed è stato definito uno dei più spettacolari patriarchi vegetali dell'Appennino
8. Archivio Fotografico della Romagna di Pietro Zangheri, patrimonio pubblico del Parco Nazionale delle Foreste Casentinesi
9. Le Putine, Casanova dell’ Alpe.Situata nei pressi della strada sterrata che da Ridracoli sale verso Passo del Vinco, è nascosta da un successivo rimboschimento. I suoi primi abitanti risalgono al 1775 e alla fine anni ’50 viene abbandonata dalla famiglia Visotti
10. Foto album famiglia Ciagli/Selmi, Montemignaio. Overlay con Ontano nella valle dei Romiti, presso torrente dell' Acquacheta, San Benedetto in Alpe
11. Albero che spunta dal pavimento, Campo de' Peri, Casanova dell'Alpe
12. Eremo di Camaldoli nel Parco Nazionale delle Forreste Casentinesi, 1100 metri slm, vista del Pratomagno

"What I Saw (Through the Viewfinder)"

- San Benigno , area pedonale fra via Caranta e via della Commenda -

This project, entitled What I Saw (Through the Viewfinder), visualizes the philosophical conceptof mental imagery (mental pictures produced by a person’s memory of things that are notpresent1). Analog photography was selected for the project in order to initiate a photographicrelationship between memory (as represented by the photographs), and time (as representedby the photographic process).

The project also considers the relationship between perception and photography, an idea that is referenced in the project’s title. The relationship between perception and photography has been explored through the use of optical and compositional disruptions that inhibit the viewer’s ability to instantaneously interpret the content of the images. When processing the selected photographs attention was paid to retaining signs of the photographic process, including subtle scratches, grain, haze, soft focus, unconventional framing, and other physical imperfections present on the surface of the images.

1. A photograph of a couch and table in front of windows.
2. An abstract photograph of vertical blue and orange bands of color.
3. An abstract photograph of multi colored circular forms within rectangular form.
4. An abstract photograph of an out of focus snowy street as seen through a window.
5. An abstract photograph of white kitchen cupboards with glass panels.
6. An abstract photograph of a lattice pattern and circular forms.

"Rodhia"

- Roata Rossi, chiesa -

We are a duo of Franco-Italian photographer artists and we generally work on subjects related to the city: its evolution over time, its architecture, its neighborhoods, its inhabitants, its vegetation, its means of transport...
For this project we are interested in an area of our city (Besançon, France). This is the Prés-de-Vaux district where the former Rhodiacéta (nickname: Rhodia) textile factory is located. It was the emblem of the city, the region and even the country because it was one of the largest producers of synthetic thread since the 1920s. It hired many workers and enabled the economic growth of the city. Unfortunately, the opening of the common market and competition forced the factory to reduce its production then stop it completely, finally closing its doors in the early 1980s after numerous syndicalist struggles.
The imposing buildings, the water tower, and the workers’ housing remained there. The houses were sold at low prices to ex-employees of Rhodiacéta. The factory and the water tower were stormed by graffiti artists and ur- ban exploration enthusiasts. In 2017, part of the site was demolished to make an urban park with a skatepark and an important place dedicated to the remains of the factory decorated with explanatory panels. The neighborhood has a special atmosphere where you feel the working-class past while enjoying the calm of a neighborhood that has become residential, immersed in the nature, a bit like the countryside in the city.
Most of the inhabitants are former workers of Rhodiacéta for the oldest, the children of these ex-workers who grew up in the streets of Rhodiacéta and their children for the youngest. Several generations for whom the factory is a symbol. People who, when they remember past years, shed a few emotional tears. Others moved in only a few years ago but not by case. These are people who were looking for a neighborhood with a soul, a past, a history.
We went to meet these people, we explored the neighborhood and we wanted to portray what Prés-de-Vaux is today while remembering its history.

1. Vuoto, Ama Split & Riky Kiwy, Besançon(FR), 2022
2. Colpo di vento, Ama Split & Riky Kiwy, Besançon(FR), 2022
3. Nero lucido, Ama Split & Riky Kiwy, Besançon(FR), 2022
4. 95 anni, Ama Split & Riky Kiwy, Besançon(FR), 2022
5. Ingresso, Ama Split & Riky Kiwy, Besançon(FR), 2023
6. Serranda elettrica, Ama Split & Riky Kiwy, Besançon(FR), 2023
7. Pelli, Ama Split & Riky Kiwy, Besançon(FR), 20228. Imballaggi, Ama Split & Riky Kiwy, Besançon(FR), 2022
9. Linee, Ama Split & Riky Kiwy, Besançon(FR), 2022
10. Pluriball, Ama Split & Riky Kiwy, Besançon(FR), 2022
11. Collina di siepe, Ama Split & Riky Kiwy, Besançon(FR), 2022
12. Stanchezza, Ama Split & Riky Kiwy, Besançon(FR), 2023
13. Esse, Ama Split & Riky Kiwy, Besançon(FR), 2022
14. Rhodia, Ama Split & Riky Kiwy, Besançon(FR), 2023
15. Renault 4, Ama Split & Riky Kiwy, Besançon(FR), 2023
16. Torre idrica della Rhodia, Ama Split & Riky Kiwy, Besançon(FR), 2023
17. Spazzola, Ama Split & Riky Kiwy, Besançon(FR), 2022
18. Passerella Jean Abisse, Ama Split & Riky Kiwy, Besançon(FR), 2022
19. Onde, Ama Split & Riky Kiwy, Besançon(FR), 2022
20. Ossido, Ama Split & Riky Kiwy, Besançon(FR), 2022
21. Besançon-les-Bains, Ama Split & Riky Kiwy, Besançon(FR), 2022
22. Brizzolata, Ama Split & Riky Kiwy, Besançon(FR), 2022
23. Robot, Ama Split & Riky Kiwy, Besançon(FR), 2022
24. Sostegno, Ama Split & Riky Kiwy, Besançon(FR), 2022
25. Sindacalista, Ama Split & Riky Kiwy, Besançon(FR), 2022
26. Giungla, Ama Split & Riky Kiwy, Besançon(FR), 2022
27. Volatile, Ama Split & Riky Kiwy, Besançon(FR), 2022
28. Zigzag, Ama Split & Riky Kiwy, Besançon(FR), 2022
29. Motivo, Ama Split & Riky Kiwy, Besançon(FR), 2022
30. Decorazioni, Ama Split & Riky Kiwy, Besançon(FR), 2022

"Sive quid urimur"

- Cuneo, Varco Space#1 -

Sive Quid Urimur: Although we burn: in Horace’s Odes this phrase refers to the act of burning with love.
Despite Sardinia keeps burning, Sardinians burn with passion for their own land. The area of Montiferru is filled with biodiversity: the mountains are guarded by the buzzards, the coastline with steep and jagged walls overlooking the sea, land of olive trees, of agriculture and breeding.

In this region the bond between nature and man is strong. Everybody owns a land plot or some animals to take care of, whether it’s for business or as a hobby.
In july 2021 everything is devoured by a fire that lasts four long days. The economic damages are heavy but not as the emotional and environmental ones, that can't be quantified. The community is devastated by the loss of its own cultural identity and childhood memories.
The dismay and the fear are always around the corner but their love for this rural dimension has never ceased to exist. Man and nature work together to rebuild what those days have taken away.

1. Cartello sito nel Montiferru, nel borgo naturale di San Leonardo di Siete Fuentes, sfiorato dall’incendio del 2021.
2. Giomaria è un imprenditore del paese di Santu Lussurgiu. I danni più grossi per lui sono stati nel suo capannone che ancora oggi cerca di rimettere su con le sue sole risorse.
3. L’azienda olearia Peddio, che prende il nome dal primo uliveto della famiglia, è una delle principali produttrici d’olio in Sardegna e continua la tradizione Cuglieritana. Sono state pesantissime le conseguenze dovute all’incendio: interi uliveti, per un totale di 5000 piante, sono andate bruciate e purtroppo sono troppi i costi per ripulire e rimetterlo in azione. Dopo una perdita finanziaria così grossa, le aziende che vivono di questa attività si trovano costrette a utilizzare i fondi per piantare nuovi ulivi e investire su una pianta che permette un ricavo veloce. La foto rappresenta la raccolta delle olive di novembre 2023.
4. Giorgio, un imprenditore del paese di Cuglieri, proviene da una famiglia di frantoiani e oggi è principalmente un allevatore. Oltre ad aver perso numerosi ulivi alcuni dei suoi bovini sono stati vittime dell’incendio.
5. Francesco, proveniente dal paese di Cuglieri, acquistò nei primi anni 2000 degli uliveti del paese, in previsione del tempo libero in campagna di cui avrebbe goduto in vecchiaia. Fin da piccolo Francesco ha vissuto la campagna con la sua famiglia avendone cura e amandola. Nell’incendio gli uliveti sono stati distrutti e Francesco, con suo fratello Antonio, cercano di potare gli alberi distrutti per rivederli in produzione.
6. Scorcio della strada dei mulini nel Montiferru. Nonostante la ricrescita di vegetazione ergono alti gli alberi bruciati e neri.
7. Michele è un allevatore del paese di Santu Lussurgiu. Ha subito danni ai suoi campi e al capannone in cui teneva le rotoballe per il bestiame. I giorni dell’incendio sono stati duri e faticosi perché per portare in salvo gli animali ha dovuto spostarli più volte in diverse zone.
8. L’olivastro millenario di Cuglieri era simbolo della tradizione secolare del paese e del rapporto della comunità con i propri ulivi e i propri antenati. Dopo l’incendio è diventato invece simbolo del disastro. La comunità ha visto un emblema della propria zona, un testimone tacito della propria storia, delle azioni dei propri antenati e dei cambiamenti del proprio paese posto proprio alle sue spalle, sparire bruciato e indifeso. Ecco che i suoi 10 m di circonferenza e i 20 m di altezza si trasformano in un tronco fragile e nero, con i suoi rami posati sulla terra che prima vedevano dall’alto.
9. Francesco Chessa, apicoltore del paese di Scano, racconta che l’incendio ha bruciato una ventina di famiglie di api nei suoi campi. Inoltre l’aumento delle temperature ha causato un autunno senza piogge e la forte siccità ha portato ulteriori morti nei suoi alveari.
10. Le campagne di Cuglieri, da cui erge Casteddu Ezzu, risalente al periodo medievale e di cui ormai sono presenti solo i ruderi. Rimane ancora oggi una posizione strategica per osservare le montagne e il passaggio del fuoco.
11. alberi caduti. Un po' è solita utilizzarlo per riscaldarsi durante l'inverno, altri per coprire le buche scavate dai cinghiali e livellare il terreno. Il resto rimane lì, non lo brucia come fa la maggior parte delle persone: con il tempo diventerà compost da riutilizzare. Gli ulivi bruciati non sempre muoiono completamente. Dallo stesso albero nasceranno infatti i cosiddetti polloni, che sembrano dei rami molto fini. Sarà uno di questi, il più forte, a rimanere e a svilupparsi per creare la nuova pianta. Dunque non è necessario che vengano sradicati gli alberi per piantare nuovi semi. Pinuccia continua però, tramite il suo affetto per la natura e per gli ulivi, a curarli e tenerli sotto la sua protezione, attendendo con calma la loro piena ripresa.
12. Gli alberi distrutti in ricrescita nel campo di Francesco.
13. Lo stretto legame con il territorio è sentito anche dai più piccoli. Ilenia, papà cuglieritano e mamma svedese, si occupa degli animali, degli uliveti e dell’orto, imitando i suoi genitori che dalla Svezia sono tornati in Sardegna e hanno ricostruito la loro casa, completamente distrutta durante l’incendio.
14. Gli alberi bruciati si reggono forte al terreno nel rilievo montuoso dove erge Casteddu Ezzu.

"Terra Mater - Ode to my family"

- Cuneo, Varco Space #2 -

Words are not inherently suitable to embrace any even blurred concept of time, and beside allspeech being made nowadays around the sense of family, its true nature belongs to theundetectable trace we leave through centuries, and to our relationship with time itself: nothingelse can extend the perception of ephemerality like fragile pictures of unexperiencedmemories, while solidly giving emotional recognition to the steps we’re drawing in the deepframe of life. Terra Mater is an ode to this broad sense of bond, way beyond a mere blood tie:an everflowing exchange of human connections, a lyric metaphor of love as unity of space andmutual understanding, an everyday practice consistently nourished by the lymph and themetric of an arcadian pastoral.

Words are not inherently suitable to embrace any even blurred concept of my family, and that’swhy I chose pictures.
For Terra Mater, I closed my eyes behind the viewfinder and put my heart in front of them.
I dedicate Terra Mater to Nora Anni. May the light of these hills be always brightening yourpath.

PROGETTO PRIVO DI DIDASCALIE