In my work I’m interested in form, within photography itself and outside of it. It is a challenge to find a correspondence between the formal needs of photography and the form of the visual world outside. It is a perpetual fight, a conflict, but sometimes this conflict’s resolution is a beautiful combination.
In Italian tetragons I am focused on a classic Italian urban space, usually composed by a religious building and a piazza (a square), or in the case of Venice a campo (originally an extended field surrounding the church). In geometrical terms the piazza is a tetragon. The interesting thing about tetragons is that they define irregular shapes without a center. In this urban structure between the building facade, the piazza and the people a relation is created- a common place but without a fixed point.
There is a similarity with the structure of vision itself in photography. Photography creates a relation- a common place between distant subjects, which is missing a fixed point of prospective. Very often and especially in the ‘Venetian campi’ you can see some trees, in the middle or attached to the walls; and their very presence, their chaotic natural masses in the context of the urban structure is emblematic of the idea of coexistence and conjunction between conflictual forms.