REINVOLVEMENT
Reinvolvement explores the contemplative process of photography, emphasizing the interplay between perception, movement, and environment. The book draws attention to the involuntary gestures and subtle ecologies that emerge through acts of seeing, framing cognition as both an aesthetic and conceptual pursuit. Modes of existence are provisional and fleeting, arising in response to context and dissolving as quickly as they form. Through this lens, photography becomes a means of tracing these ephemeral occasions, engaging viewers in a reflective dialogue about attention, temporality, and the complexity of visual experience.
Without Origin / 2025
In modern times, dominated by issues of ecological precariousness, technological acceleration, and social fragmentation, the language of potentiality becomes urgent. To see the world not as something fixed but as a continuous unfolding means opening ourselves to alternative futures. A frayed net, a changing field of grass, or the edge of metal catching the light are not mere objects, they are thresholds, invitations to imagine what might emerge from instability, fragility, or resistance.
Unmade / 2025
When We Forget / 2026
“Potentiality is that which can be both being and non-being, that which always preserves within itself its own possibility.”
—Giorgio Agamben
In the Near Distance / 2024
Come in Attesa / 2024
What the Walls Remember / 2024
Come in Attesa / 2024
Soglia Piegata / 2025
EDITIONS
The photographs are artist-made prints on aluminium, in formats ranging from 30 × 40 in to 150 × 120 cm.
The making of the series is attentive to light, texture, and gesture: each shot arises from moments when surfaces subtly shift, when the eye might glance away but lingers.
The editions are limited, signed, and presented with a sense of intimacy and pause, rather than spectacle.
Size: 40 × 30 cm
Material: High-quality aluminum
Finish: Matte with natural sheen
Edition: Open
DESCRIPTION
This photographic series inhabits the liminal space between form and gesture. Across surfaces, fragmented walls, worn fabrics, metallic edges, the images freeze instants of becoming: folds not yet settled, paint peeling but not yet gone, structures caught in tension. At the core lies a preoccupation with potentiality, the state before completion, the threshold where the visible and the latent coexist.
Shot under varied light, each frame is a meditation on change in suspense: not on what has become, but on what is still possible. This is a visual language of the unfinished, an inquiry into how the world might be read through its quiet, almost imperceptible transmutations. In an age shaped by ecological precarity, speed, and fragmentation, such intervals of “almost” ask us to consider what futures we might glimpse before they materialize.