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Fictional Dramas - cinematic photostories

The primary inspiration for my photography comes from the movies of the past. From the world of cinema I have borrowed my passion for elaborate stage sets, dramatic narratives and expressive characters. In my photo stories, I try to convey emotionally charged images that look like as if they were taken out of a movie. Each photo story is made of around 30-40 uniquely composed images. Each of these "movie stills", despite being part of a larger narrative, can be viewed as a work of art in its own right. Each still condenses the experience of a long and complex creative process, in which the stage set, the composition, the lightning, the mood, the costumes and the human figure all interact with each other to deliver the story I want to tell.

My photographic style could be called "cinematic". Although this isn't an officially recognized photographic genre, it is a creative approach that I share with contemporary photographers like Alex Prager, Formento & Formento, Lise Sarfati. With these artists I share the attention for mood and lightning, the love for dramatic action, and an overall love for storytelling.
I have been interested in films since a young age. I always loved the idea of portraying characters in action, and of capturing the intensity of moments that do not actually exist other than in my own imagination. I always loved neo-romantic tales of drama and mystery, therefore I love to deconstructs the iconography of memorable movie masterpieces, from Visconti's neorealism to Fritz Lang's noir, and reassemble them to create my own, evocative narratives. I love to take the viewer into a fictional world that is seething with cultural and historical references.

My characters are first and foremost human beings, and as such they are the expressive means that give depth to my stories. I try to reveal their authenticity by scraping away every unnatural pose, every affected movement, leaving them the sheer freedom to express their narrative power. This is why the protagonists of my photographs are never professional models, but ordinary men and women. More notably, they are characterized by an unbridled sensuality and a voluptuous romanticism - probably an unconscious statement I make against today's fashion photography's tendency to propagate images of desexualized and dehumanized male and female bodies.

I shoot in digital, and I edit my photos in post-production to give them the charm and the patina of film. The choice of colors, as well as the lighting mood and the enhancing of certain elements in the background or foreground are all carefully thought over.

My photo stories are designed to lead the viewer into an immersive sensorial experience. My work is designed as a multimedia work, the natural completion of which is music. I love my stills to be seen in sequence, screened as part of events reminiscent of silent movies screenings of the early twentieth century, where a live orchestra accompanied the flow of black and white images.


This idea of photography as a cinematic event has found its expression in the project "The Visual Orchestra", developed with musician and composer Alessandro di Puccio, which debuted at the XIII edition of the Music Festival of Piazza della Passera in Florence, in the summer of 2013. During the event, my photo stories have been projected on the facades of the historic buildings of Florence, accompanied by the soundtracks composed by di Puccio and his orchestra. The event will be replicated this coming December in Berlin's former Stummfilmkino (Silent Movie Theater) Delphi, a masterpiece of art deco cinema architecture from 1929.


Cinematic Photography, Visual Storytelling

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