I’ll not be brief.

Writing a presentation of your own work is always risky. You can always repeat yourself, you can get to the point too soon and neglect the fact that ideas, projects and series may change over time, as times change. I don’t even remember when this website was launched… eighteen? twenty years ago? Time blurs the beginnings, the past and fundamental steps. For this reason, I would like to start with this quote:

"These are the delusions of the pure and the unprepared, the beginning is never the clear, precise end of a thread, the beginning is a long, painfully slow process that requires time and patience in order to find out in which direction it is heading, a process that feels its way along the path ahead like a blind man, the beginning is just the beginning, what came is nigh on worthless" (José Saramago, The Cave).

I do not think that finding a precise direction in my research, as an arrow pointing in a given direction, is possible. I have always worked on different projects at the same time. Some have never been completed and just died, while others are still in progress, but are struggling to find their own identity. Let’s say that the common thread, the question I ask myself, is always the same: what role do images play? how does their meaning change when the context changes? Is it general enough to try to keep everything in the same container? On this website you will just find, in this form of dispersion I wanted to give them, my urgencies, the floating tip of an iceberg that hides much more, including inconsistencies and dead ends. This is my photographic production. There are also some thoughts that are spinning through my mind during this period:

the Fusion series, where my images are inserted in other universes, with the collage technique, focusing on the idea that the meaning of an image changes as the context changes, and trying to give shape to all this; they are experiments with different materials, which go beyond the boundaries of photography and invite us to question them as pure two-dimensional objects;

the SurfacesTerra and Peach series, where you will find close-ups, with little or no perspective, but also almost random, blurred images that can barely be perceived; it’s a photographic style different from current trends, dominated by devices such as smartphones that have changed the way we take a picture and look at photography, with the lens getting closer and closer to the objects.

Other series, such as Forest Landscape Materials and Phase Change, as conceived by me, all belong to the same cycle, and all three are the result of a collaboration, which took place in different ways and at different times, with art critic Steve Bisson. Forest, which is the oldest project of the three, consists of images of forests. I used to define it as undifferentiated vegetation, but a friend of mine, who is a naturalist, told me that it is stupid to talk about undifferentiated vegetation. So, let’s just say that these are front or top views of forests acting as membranes through which we can see ourselves; the forest is like an inner world we should explore without getting lost; Landscape Materials has been a long project on which I have worked several years, first with the creation of images, which date back to 2013 and which were taken in California, in a small area north of San Francisco, and then with the production of a book published by L'Artiere and created by me and Steve; a sort of visual trip, an abnormal and asymmetric graphic layout that leaves plenty of white space on the pages to underline the basic idea of a landscape that has become fractal, with an impalpable meaning; the third series, Phase Change, which is contained in another book, 52 Pictures, published by Urbanautica Institute, consists of 26 diptychs through which I investigate the typical topics of my research: the role of images and the issues related to the concept of landscape, the difficulty in finding a visual rationalization, where what matters are the relationships that are established between each pair of images.

And, if this is not enough, which is possible, although I have some doubts about it, I also included some special series, to offer you a more complete and complex overview of my work: BaroccoBlur and Loop, which are actually in their early stages and are not really defined yet. They are just titles. We’ll see what’s going to happen in the future.

The Italian Monument series is, instead, a long-term project based on a 1976 book, American Monument, by one of my favourite photographers, Lee Friedlander. Over 200 photographs describing the American landscape through its monuments. With a similar approach, but for an Italian project and many years later, I am collecting an ever larger number of images in an attempt to describe, and not explain, because it would be too challenging, the relationship that Italians have with their own history and traditions, since I believe that monuments preserve our collective memory. Opera is in the same column as Italian Monument and deals with the same issue, but from a different point of view; I started taking pictures of Italian buildings, without having a precise goal, all taken in the same way: front views, bottom views… almost to emphasize the materials with which they were built. What is emerging from this collection is a series of architectural types typical of Italy. In other words, these buildings are characterised by the typical Italian style, or the style through which Italians express themselves.

Architecture is science fiction architecture, but you will not find classic architectural images or something like that here; very close to Moebius’ world (if you love comics you know what I am talking about), it is science fiction applied to photography. Perfectly clear, don’t you think?

Transparencies is about my obsession with mirrors, reflective, translucent surfaces and so on. You can consider it as a form of mental illness, morbid curiosity or a search on the border between the visible and the invisible. You choose.

(Wow, we are almost done!), Chaos is a tribute, even if formal, to chaos and unpredictability, which are the basic ingredients of life and its end; a sort of gravity that creates the background music of our lives.

Finally, Sessame is an insistent and long contemplation on a restricted area of South Piedmont, let's say it shows my romantic side, while Viewpoints focuses on viewpoints, I mean the physical place, and not the view; it is a reflection on what we do when we observe something, what we expect from the act of looking, and what makes it so satisfying. Well, that’s it! We are done. See you next time. (Hopefully!) EH