Mono Works, 1995-1998 (a selection)

In addition to the works organised in small series, my photographic production has always also included single images untied from precise themes, sort of moments of freedom when compared to the more demanding conceptual cycles. Often they were subject of an experimental approach or characterised by effects that were, however, always traceable to the tradition of classical photography, such as multiple exposures, alterations of the chemical development process, masking and vignetting.

Most of them were made with my favourite working tools of the 1990s: the large format cameras Sinar P and Linhof Technikardan using the amazing Polaroid 55 P/N film.

Included are also small series or sequences like the diptychs in the series “Montecastello” (1997), dedicated to the mountain of the same name that dominates the village of Tegna in the Italian-speaking part of Switzerland, and which symbolises the search for the immutable, for a super-historical and anti-modern fixed point. The subject is in fact shot without any elements that allow it to be placed in time, and the sensation of suspended time is also expressed and emphasised by the marked static and symmetrical nature of the composition. Or “Re/exposing to the light” (1998), a small series of diptychs portraying stones photographed in their natural context according to the “two times” scheme: first in their original position, then removing them from the ground to reveal their trace imprinted in the ground, an action that refers to a strictly photographic action: from the concept of “re/exposing to the light” to the revelation of an image/trace imprinted in the ground as a result of the direct interaction between a “positive” and a “negative” as in the execution of a contact print.

Nekhekh, from the series "Objets trouvés, 1993.

"Studio preliminare sulla notte del Vajont", a selection, 1996.

"Riesporre alla luce" (in memoriam Ernst Jünger), dyptichs, a selection, 1998.

"Montecastello", dyptichs, a selection, 1997.