Gio and Clo having sex to reach Gio's orgasm and reflect together on the nature of our desires. Authorial vision on pornography, control and power. Images in black and white shot in the dark with infrared camera offering a voyeuristic type of gaze to explore the links between forms of control in the cyberspace and our private choices and desires. Click on "see live project" to watch the full video.

An ode to stars and vegetables. The double nature of light in its physical manifestations splits reality into two opposites that generate a spectrum where life flows. The interconnection between elements of reality is visually translated in the constant shifts from macro to micro framing, from down to earth to up in the sky transitions, where colors keep track of time generating distortion. Noah and Eve, in the last moments preceding the huge flood, walk together through this colorful distortion, reflecting on the consumption of food and the nature of light. Time and space live together like food (the earth) and stars.

First in the series of “stolen images”. The “stolen images” series questions representation in contemporary society, considering the overproduction of new images a sort of pollution of the gaze, where reality is blocked in a constant present with no escape. The method is simple: recycling other people’s work or content found either in exhibitions/theater shows, or online, downloading digital material, and creating collages that become loops. Working with Alberto Canova we develop sounds from samples of someone else’s music/field recordings, to loop them in chains of feedback.

Sabrina lives during nighttime, when the darkness speaks to her about mysteries and bad habits. Exploring, probably not for a choice, the resonances of loneliness, she tries to understand what's stopping her from moving forward. How can her silence speak to her? How do we escape from the voids of habits? Hallucinations are contacts with other possible realities, but how do we shape them?

At the core of electronic music is the dialogue between body and machine. The dance of electrons inside a light source determines the emission of a certain color. “Jumping electrons” develops in a cycle where the loop is the technical approach, and vital dynamism fights with an inevitable death of staticity. The loop to create the dialogue with the machine is simple: I create digital photo-collages leaving some empty spaces, then print on paper, draw on the empty spaces with graphite, scan the results to re-work on it digitally, and then print again and so on for three or four times.

In Italy we say: don’t judge a book by its cover. But then we do. The development of this project was illogical, unpredicted and spontaneous, but it turned out to be a loop of double meanings and short circuits, and a challenge to the displays of knowledge and cultural institutions in front of global crises and wars.

Everything is held back and slowed down; in a word, the field of desire opens up before us in all the devastating virulence of its theater. Renunciations here carry more weight than actions, blood, or matings. Paralytic theater. Unique object: I do not believe there exists in western dramaturgy of all time anything more static and nerve-wracking. And yet, one weeps. The word becomes concentric, like drug fumes; the dialogues are in reality feverish monologues. "Bérénice" is a text that says nothing, and this is its offering, its—deep down—madness, its "contemporary-art."