Within a photographic perspective I work largely with the moving image. By interweaving emotional and psychological narratives with the digital, I explore personal memories in relation to broader philosophical concerns. A personal symbolism, in my work, must be collected by the audience who relates it back to their own sensitivity.
I appreciate the moving image from the stance of an outsider: seeing things from a distance. In my work, more generally, lies an interest for plotless or unconventional narratives, such as the one of the filmic essay. An extensive research stage supports the identification of concerns and beliefs lying in-between or outside the medium, sometimes questioning its technical qualities. This usually results in philosophical and scientific explorations which accompany and structure the narration of my film works. Questions of digitality, of being able to touch the untouchable; of memory, of chance, of grasping the forgotten; of humans operating the machine, of machines operating the human being.
Digital, analogue, tangible and abstract merge together. The resulting dialogue displays an approach whose unusual outcome cannot fit within a specific label: it is not strictly digital, nor analogue, it embeds both. It might be evocative, sometimes personal, and often fragmentary. My practice subtly positions between the technological and the humanistic to reach the audience in a simple way. Might they empathise with my work, feeling emotionally touched, becoming wounded or nostalgic; my hope is to share with the audience an intense experience rising from the dark spaces left undefined.