Observing what is close to us and therefore often escapes our attention, translating it into images: this is a way to take care and to understand our microcosm. Giulia Agostini, Nicola Baldazzi and Francesca Cirilli let their gaze lay on people, objects, places that belong to their daily life, balanced between poetry and irony.
The series Nel pozzo (In the Well) is an hypothetical journey into an underground world, where scenes and common objects, estranged from everyday reality, evoke mysterious meanings.
Murakami Haruki, describing the depth and loneliness of a writer at work, compares it to a person who is sitting at the bottom of a well, just waiting; in his books wells are often places around which the boundaries between reality and fantasy become more and more uncertain and blurred.
A bale of straw that becomes a giant snail, a tree with mouth and eyes that seems to enchant a pole in its proximity, a moss-covered sphere which resembles the Earth: these are all images of banal, everyday objects that the camera, the ‘well’, transforms into what appear to be intriguing relics from another world, objects loaded with mystery and narrative potential.
My first child turned one just before the beginning of Italy’s lockdown for the Covid19 pandemic in 2020. With his birth my personal universe has condensed and narrowed in size and scale: we lived life at home in a more intense and extended way, even further with the quarantine measures.
Feeding Geographies is a reflection on motherhood, on care and nourishment – in a material, emotional and physical sense – on the subtle inherent ambivalence that having a child entails in situations that can be hard and wonderful, simple and exhausting at the same time. These images are meant to define the domestic geography of my mothering experience, a dissertation on physical and mental individual spaces, on limits and relations between mother and son.
A STEADY DIET OF NOTHING. ARCHIVES 2004-2021
This project is a compound selection of photographs from my archives. In 2021, after years of accumulation, dispersion, and partial neglect, I filled an old Olivetti cabinet with films and hard drives dating back to 2004. In an attempt to summarize my photographic process, I noticed a hungry attitude towards producing new images rather than formalizing projects and series; therefore I prefered rummaging through my archives instead of shooting new photographs. In this work each image is a fragment that embodies my archives as a whole. By juxtaposing and editing existing materials I aspire to generate new layers of meaning while re-discussing my photography.