To me the analogue film is a material support, a tangible proof of reality: the image formed in my films is unique and unitary. The parts of reality are assembled during the shooting in the same time they are impressed on the film. The analogue film, as a proof of what happens in the world, is used to reveal invisible sides of the reality, through the use of double and multi exposures on the same frame. As Lana Wachowski's said "this world that we imagine in this room may be used to gain access to other rooms, to other worlds, previously unimaginable". To me, analogue photography is the way to gain access to these worlds, is what I take with me during the exploration of these worlds.
This image is part of a bigger series of
approximatively 40 pictures around the theme of the relationship between our
inner mental image of ourselves and our tangible appearance. The proprioceptive
processes that lead to the formation of our mental image of ourselves follow
complex paths, not always giving back to the person a coherent perception of
himself, in harmony with our outer appearance.
This series starts from the need to explore my own proprioceptive paths,
trying to give a name to the conflicts that make me feel my outside layer as a
different, stranger person.
Everything is in motion, everyday we live new experiences
that allow us to move on towards new awarenesses, increasing or contradicting
what we learned and incorporated in our thinking system. Life crystalizes in
frames, moments, single memories linked together like a beaded rope. This is
the reason why it was so important to organize everything into a series,
divided in chapters, like frames taken from a film. The path is linear but
follows various levels of entropy, starting from a dynamic prologue, ending
with a static image.
Exploring the big amount of introjected notions, being aware
that the assimilation of different external elements lead to a non-organic and
layered ideal image of our appearance, all of this gives the possibility to perceive
ourselves in different ways, materials and state of matter. If the formed image
does not harmonize with our material status of bone and flesh, one can perceive
himself through every kind of matter.
This is the reason why we can be white and smooth as marble,
loosing our skin texture, moving despite our solid state, why we can perceive ourselves as a statue while having the awareness of being alive: this picture is a visual impression of an interior way of perceiving the dark matter underneath my skin, a fluid that acts behind my physic appearance, that changes shape and material status despite my exterior surface.
