My research focuses on the phenomenology of rapresenting  landscapes modified by human intervention with particular attention to architecture. It is a path that develops on multiple levels, determining as many reading levels. What ensues is a collage on the post-human condition that winds through a reflection on artificial places. All references and quotations are manifold and they range from the drawings of Antonio Sant’Elia to the scenography of Blade Runner, from virtual environments of video games to the urban hypertrophy of Dubai and Abu Dhabi through the cyberpunk notes of the novels by William Gibson and Philip K Dick and for the post-apocalyptic future of Mad Max.


The fil rouge is fascination towards the immanence of objects and the progressive loss of identity of the individual, which are here imbued with a feeling halfway between amused nihilism and a condition of depersonalization. This research comes through by means of the creation of series of images in which photography and digital techniques alternate. It is not a random choice. We live in a period in which the variety of languages has ended up merging into a single grammar capable of accommodating each expressive facet. Contemporary individuals live lives in which what is defined as virtual is so strictly intertwined with the physical dimension that determining precise boundaries is almost impossible.


I am fascinated by the ways in which urban landscape photography has detached itself from any form of reportage. Many ideas of mine take inspiration from authors who reinterpret the world around them through digital manipulation. I am referring to authors such as Andreas Gursky, Olivo Barbieri and Joan Fontcuberta, just to name a few. Another way of interpreting man-made spaces is that undertaken by photographers like James Casebere, Thomas Demand, Oliver Boberg and Edwin Zawkman. The photographs of their scale models place the spectator before universes in which the boundaries between tangible and fictitious end up disintegrating definitely. Nevertheless, the artifices they make use of serve as a reflection on concrete issues. I have found a natural evolution of these trends in the generation of CGI environments. I am a jealous collector of 3D models, enthralled by the legacy they bring with them: they contain archetypal qualities as functional objects to define hypothetical and yet credible worlds. In fact, most of my practice hinges around an obsessive need to generalize through a quite cataloguing process, thus creating an archive in which reality and fiction alternate, leading to the creation and the search for likely spaces and places which are also deeply detached from the their context.