Portraits 1995/2006

This selection from my long-term project of female portraits is about the relationship between artificiality and naturalness.
For this series I have been inspired by movies, especially by those ones where this relationship apparently is more remote
(just to do an example: Antonioni for the artificiality, for the attention to an accurate mise-en-scène; Rossellini, on the contrary, for the naturalness, for the spontaneous image).
But artificiality can be real and natural as naturalness can be artificial.
So the most seemingly casual kind of image, that looks like a spontaneous snapshot, is actually carefully considered.
And reciprocally, the most arranged, formally rigorous image at the same time looks as if it could have just been find.
Nothing is finite or categoric.

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