BOÎTE DE NUIT (2024)

 

 


DEBRIS (2023) IS A SERIES OF BLACK STONE-WALLS IN THE MIDDLE OF THE MOROCCAN DESERT. THE WALLS BELONG TO ABANDONED HOMES AND STABLES, AND THEY ARE BETWEEN 7 AND 33 METERS LONG AND BETWEEN 2 AND 7 METERS TALL. THE WALLS WERE PAINTED OVER UTILISING CARBON-BASED PIGMENT, WHICH RENDERS THEM INTO MATTE SURFACES THAT ABSORB ALMOST ALL LIGHT.

WHEN TRAVELLING THROUGH THE DESERT, DEBRIS APPEARS AS A SMALL DISTINCT BLACK PUNCTUM IN THE IMMENSE EXTENT OF SUN-BLEACHED DUST AND STONE, A SPOT THAT DEFINES MORE A PLACE IN TIME RATHER THAN SPACE. IF ONE WAS TO PILGRIM TO IT, THEY WOULD OBSERVE IT ENLARGING AS THEY APPROACH, UNTIL THE SKY WOULD GET SWALLOWED BY ITS DARKNESS AND THEY WOULD GET ABSORBED TOO.  

DEBRIS OFFERS A PAUSE FROM CHAOS. WHEN EXPERIENCING IT, THE VIEWER IS PROPOSED WITH A SANCTUARY INSIDE A “BLACK HOLE”, WHERE TIME IS PLIABLE AND CAN BECOME ENORMOUS. WITH ITS INHERENT LIMINALITY, DEBRIS IS ALSO A SEPARATION AND A GATE. IT EXISTS IN THE SPACE BETWEEN “BEFORE” AND “AFTER” ENGAGING WITH IT.

 

WHAT REMAINS OF DEBRIS IS A SERIES OF PHOTOGRAPHS, SUBJECT OF A DIFFERENT RESEARCH. PHOTOGRAPHIC CONSEQUENCES (2024) USES COLOR MODIFICATION AND OTHER TECHNIQUES AS A MEAN TO ENHANCE THE DETACHMENT OF DEBRIS FROM ITS SURROUNDINGS, CONTRASTING THE ARCHETYPICAL BLACK WALL AND ITS BARREN ENVIRONMENT.

 

 

 

 

 

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LES PSYCHOPATHS (2024)

 

 

 

 

 

UNTITLED MOTHER (2013) IS A RESEARCH THAT DEVELOPED BETWEEN 2012 AND 2013. THE CORE OF UNTITLED MOTHER IS A COOKBOOK, LIBRO DI RICETTE MAGICHE DOLCI E SALATE, COMPOSED OF RECIPES THAT WERE DELIBERATELY PASSED DOWN INCORRECTLY BY TOMMASO’S MOTHER.

UNTITLED MOTHER IS COMPOSED OF A SERIES OF CONSEQUENT ELEMENTS: A SERIES OF HYPER-REALISTIC IMAGES OF ANIMAL WASTE. A SERIES OF PHOTOGRAPHS OF TOMMASO’S CHILDREN PUT IN DIRECT RELATION WITH FOOD. A MAP OF COLOURED PLANETS, NOTES AND REFERENCES WHICH WAS DESTROYED IN ORDER TO BUILD CONNECTIONS AIMED AT CONTINUING THE RESEARCH PATH. A SERIES OF PHOTOGRAPHIC PRINTS DEPICTING THE BOTTOMS OF POTS IN WHICH THE COOKING PROCESSES WERE DELIBERATELY INCORRECT, AND WHICH RECALL IMAGES OF PLANETS. THE PRINTS EXIST IN TWO VERSIONS: IN ONE THE SURFACE OF EACH CIRCULAR IMAGE OF THE POT EXTENDS ACROSS THE ENTIRE PRINT, WHILE IN THE OTHER THE DIAMETER IS VERY SMALL AND FLOATS WITHIN A VAST BLACK SPACE.

A SERIES OF FOUR CEDAR WOOD BOXES CONTAINING 17 50X60CM PHOTOGRAPHS MOUNTED ON ALUMINUM WITH THE SUBJECT IN LARGE DIAMETER AND A GRAPHIC ELABORATION OF THE COMPLETE TEXT OF THE COOKBOOK. THE GRAPHIC ELABORATION IS A 120X100CM PRINT FOLDED IN FOUR, ON WHICH ALL THE RECIPES ARE PRINTED ONE AFTER THE OTHER AND PARTLY OVERLAPPING, CREATING SHADES OF GRAY THAT FORM A DARKER LINE, A HORIZON. THE FOUR BOXES BELONG TO TOMMASO’S FOUR CHILDREN, AND ARISE FROM HIS NEED TO PAY HOMAGE TO HIS MOTHER AND TELL HIS CHILDREN ABOUT AN UNCOMMON MOTHER (AND GRANDMOTHER).

UNTITLED MOTHER IS A JOURNEY THAT EXPLORES THE RELATIONSHIP BETWEEN CHAOS AND BELONGING. TOMMASO’S RESEARCH SEEKS TO DESCRIBE THE ANARCHY AND ALCHEMY OF THE INTERACTIONS THAT ARE CREATED WITHIN A GROUP OF PEOPLE. USING NOURISHMENT AND DISORDER AS STARTING POINTS, UNTITLED MOTHER SEEKS TO BRIDGE THE GENERATIONAL GAP BETWEEN PEOPLE BELONGING TO THE SAME FAMILY WITH AN ARCHIVAL AND AUTO-ETHNOGRAPHIC EXPLORATION.

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