If there is a God then how does he sees Italy? This is the provocation set forth for this project. When I was a child, I read a number of different books about the fourth dimension. As a photographer, some of my childish desires related to this strange 4th dimension visited me again and I wanted to explore this.
Italy was not casual, it is the birthplace of architecture and it is the place where life has taken the original form of the city. If you gaze at an Italian building or walk through cities like Rome, Venice, or Florence, you feel liminal, perceiving at once-all- different times stratified in the same place. So, in a way Italy was the answer to my question, but it was also a challenge. How can photography correspond to the strata of time that converge in a single Italian frame? How can photography show the forth dimension of time?
My response is that photography must show time itself as a movement. For this reason I choose the double exposure technique, in which you use the same negative consecutively in two frames. The result is that you see Italian buildings not as static forms, but as dynamic ones: time has entered in the real process of the image making. Buildings do not exist before the body moves around or inside them and thus the original provocation, was then transformed: if there is a God, it is certainly our body – which explores the dimension of time by just moving itself.