¡πnk!

Meanings change and combine in relation to experiences and consequently the perception of them.

Observing the body in relation to its particular environmental and cultural contexts highlights the historical vision linked to metamorphosis and dynamism: experimental moments in which the fractures and transitions seem unequivocally revealed.

Photography allows us to capture a portion of reality as it is, but playing with exposure times, light, and the subject allowed me the creation of layers of light and movement.
Aware of the value of dynamism, of the chromatic impact, of the search for the sign, and the balance between all the factors that create meanings, I realised quickly how this operation was not easy: the questions I asked myself were mainly related to the connections between shape, line, and colour.

The interest in the value of dynamism and sign as main aspects generated by gestural freedom led me to an evocative dimension that suggests me interpenetrating and spatiality.

Identity and interpenetration are two concepts that unequivocally refer to the sphere of sexuality, so I decided that I would use my body, my legs; I chose fuchsia tights as a matter of gender identity. This is because of the culturally constructed association gender-colour and it is a deliberately chosen political symbol.
Our body is political and sexuality is part of our identity, a non-static spectrum of colours.

The fabric is here like a second skin that allows me to change colour and shape, and observe the effects.
Layers of light and movement, one body concealing another.
The lights, the environment, and colour become here a non-place of metamorphosis and compositional possibilities, action close to
pictorial gestures I studied in the past.

The interest in the value of dynamism and sign as main aspects generated by gestural freedom brought me to an evocative dimension that suggests interpenetrating spatialities.
Layered identity and interpenetration are here two concepts that unequivocally refer to the sphere of sexuality, but it can also be interpreted as a pirandellian mystification/influence/bias, an alienating symbol, an index of the depersonalization and crushing of the ego.

Observing of myself as a subject that overcomes form to become a non-form to satisfy the need to look beyond the barriers imposed by the media and by my body, to intersects the photographic practice with the performative act, opening up to new -and maybe infinite- expressive and compositional possibilities.