This paragraph deals with the existential time that is made visible through a photographic image in “Waters” and in particular it focusses on two pieces deriving from this work.

 

Every day I take a photo of the canal opposite my studio where you can see the rise and ebb of the tide. The photo is taken only on those days that I spend in the studio. However, if I do not go to work or I am away from Venice, then no photo is taken. It is life that determines the work and not the other way around.

 

The first example, “Water Covers” is part of the series that forms the first page of the photographic work of the “Waters”.

In the structure that reproduces the Gregorian calendar, the days the photo is taken are compiled and the inactive ones are left blank.

The existential time is rhythmed and cadenced in a mass of full and empty spaces year after year.

 

The second example is a print (as large as the portion of the wall that I photograph, which measures approximately 2 x 1.5 m.) which contains the photos taken in the span of a year compressed in the upper part, while the lower part contains the space which corresponds to the days in which I did not take a photo.

This latter space is represented by the mass of sludge, the painterly substance that is formed over the years at the bottom of my paintbrush holder.

What weighs more in the represented space? The fullness of the experience or the emptiness of passivity?

(Written in 2020)