HOW DID YOU GET STARTED?
After high school, I moved from Orvieto to Milan to attend a three-year course in media design and multimedia arts at NABA. During my years at the academy, I started collaborating with brands and magazines, mainly in the fashion sector, as a photographer and filmmaker, producing reportages and editorials. In 2022, I approached video-dance by collaborating with choreographer Michele Ifigenia Colturi and his group Tyche.
Music, theatre and dance interest me as much as multimedia practices, especially for their live side. I recently collaborated as a visual artist with choreographer and sound designer Biagio Caravano for the Sound and Visual Concert at Did Studio in Milan
WHEN DID YOUR PROFESSION START TO BE DEFINED?
I’ve been calling myself a photographer for a couple of years, but I don't consider it a defined profession yet. I think there is still a lot to discover, experiment and learn.
WHAT IS YOUR CURRENT MARKET?
I currently work in photography, filmmaking and post-production. I don't want to preclude myself only from the fashion industry, despite its great heterogeneity. I’m open and willing to contamination with other fields and maybe start personal photographic or documentary projects.
DO YOU HAVE ANY ARTISTIC ROLE MODELS YOU WOULD LIKE TO CITE?
Roy Andersson, Antony McCall, Kraftwerk, Yuri Ancarani, Nonotak Studio.
HOW DID YOUR COLLABORATION WITH BIAGIO CARAVANO COME ABOUT?
Biagio Caravano was looking for a support figure in the construction of the visuals and we started working together. From the very beginning, we agreed on the project and the necessary interdependence between the live concert and the projection set design.
For the rehearsals Biagio had provided me with a partial recording of what he was going to play live, just to get an idea of the sound and mood of the performance; once the structure of the video was finished, he perfected the sound composition. The first time I heard the music in full was on the morning of the live performance, when I also saw the visuals projected on a large scale for the first time. Until that day we had worked on a domestic scale. The setup of the visuals included a front projection on the wall and one on the floor; however, as we could not rehearse on-site, the projected parts on the floor were added during the rehearsals to make sure we achieved the desired effect. It was a challenging journey. The performance took place on 2nd April at the Did studio at the Fabbrica del Vapore in Milan.
DOES THE CREATION OF CONTENT ADHERE TO A DRAMATURGY AND HOW?
No, there is no dramaturgy. The visuals are created to accompany the sound and vice versa. There is a structure that starts with the images and leaves them until they become colour and then words. I would say there is a dramaturgy of rhythm, there is no narrative intent.
TELL US A FEW WORDS ABOUT THE CREATIVE PROCESS OF THIS PROJECT
It was a four-handed process. Right from the start, Biagio showed me his references. Then we moved on to researching diagnostic images and medical findings: X-rays, MRIs and ultrasound scans. From there, I started to build sequences of images and video distortions and to work on rhythm and editing, working hand in hand with Biagio and finding common ground between us.
DO YOU HAVE ANY UPCOMING WORKS OR PERFORMANCES TO REPORT?
In late April, a video made in collaboration with VP33, a brand I often work with, will be published in 'A magazine' and on my channels: it is a performative action focused on the theme of care.
for Dare Clan