Familiar investigates the formation of selfhood within familial and communal structures, exploring how identity is shaped through relationships with others. The work traces natural patterns, seeking a shared logic of inheritance, becoming, and separation.

Until the Sun and Moon Go Down traces the ridges and facets of an insular microcosm shaped by opposing forces and hidden symmetries, poised between limit and possibility. Immersed in a rarefied sensory landscape, set apart from the background noise of an increasingly frenetic and interconnected world, and in close contact with the untamed element, the remote island offers the conditions for experiencing a reality that cannot be measured or predicted, but only approached through symbols and metaphors. Drawing on the imagery of folk tales, the language of dreams, and the mythology of the Aeolian archipelago, the photographic medium operates as a mediator between inner and outer worlds, between microcosm and macrocosm, assembling fragments of a polychrome reality through intuition, resonance, and the cyclical rhythms of nature. The transformation of matter—from the alchemical journey to shifts in sensory perception, from attempts to domesticate an unforgiving geology to inner change—becomes the fil rouge of a narrative that remains bound to its invisible dimension.

This series explores the resonances between outer landscapes and inner worlds, seeking the universal wisdom encoded in natural cycles. It also stands as a meditation on the creative process itself: a stratified ground in which every endeavour requires time and a form of surrender. Yet, this is not merely passive yielding, but rather what Emmanuel Ghent described as liberation and expansion of the self—a symbolic death that clears the way for new life to emerge.

I view visual arts as a vast territory that extends far beyond photography. Creating collages has been a means of expression for me since childhood, offering a more tactile way to reshape reality. Recently, I have specialised in site-specific collages made with pressed plants. Each composition celebrates the uniqueness of a place, intertwining its mythology and primal essence. The project also explores the relationship between nature and perception, examining how the experience of a landscape is internalised and transformed into an image.

In a fabled hinterland, a man lives in harmony with nature, seeking to restore the cosmic order with his stone companions.

High Plains Werewolves is the first chapter of a larger project that I am working on, with more episodes all set in Sicily, although they could take place anywhere. This work tells the story of a group of humans having an ancestral connection with the land; their blend with nature becomes so drastic that something feral starts inhabiting their bodies.

"Coming home is terrible whether the dogs lick your face or not" (Eva H.D). Coming back home doesn't always elicit a pleasant feeling. Slipping back into the origin might be painful, puzzling and, at times, alienating. What should be familiar never felt so estranged and there's no sense of belonging. A journey of self-discovery and reinterpretation of the world takes place, almost like a rite of passage. We are sometimes passively dragged around by whirling forces; sometimes we are the force, still and imperturbable. Force Majeure is about all this.