I became interested in photography at an early age, maybe around the age of 5. Over the early years, it became a passion and then turned into a profession.
I’ve always wanted to attribute a different meaning to a form from its common one, in order to express a different perspective or concept.
The surrealism-pop style is, at the moment, the best way I can express my vision of the world, with regard to the hyper-consumeristic society we live in.
Food advertising themes that I have worked on in the past, are elaborated and transformed. The subject matter is often decontextualised. For example, the preparatory shots for Wall’s ice cream, in various Oreo flavours etc., have become photographs of plants in a vase, a jellyfish deep in the sea, a chameleon…
My approach turns subjects into new objects. The paradox is not meant to be a pure provocation but perhaps the only means of escape, often by recycling materials that have been consumed and thrown away by people.
The hands transformed into animals by the Italian body painter Guido Daniele, become the very vehicle of the advertising message that devours the hypothetical advertised object (in my case an ice cream from the McDonalds chain where the logo has been erased). I love scenes with animals: to me they represent the purity of instinct free from any media influence, the unbroken foundations of the human soul, the values of tolerance and inclusion in which I believe.
The “Birth” series represents the birth of man as a predestined consumer: when he is born he is already old and consumed by the false desires created by advertising. To this ‘old’ someone gives him a smartphone and a well-known carbonated and sweetened drink.
The imaginary that I propose springs from the set of relationships that each individual has with his physical and mental environment, with reality that turns into a representation that has the ability to make individuals act in a certain way.
The contents of the imaginary given by memories, dreams, beliefs, myths and objects have in my opinion a concrete impact on people also on an emotional level.
The imaginary for me is the substratum of our ‘Thought’ and is composed of dreams, symbols and images that represent a sort of fantasy world that we humans cannot do without.
My artistic research and its photographic expressions probe the double value, more than the ambivalence, of the meanings of man’s “global” imaginary in the context of today’s globalised world.