Photo Series: Gathering diverse photographic works across different themes

Photo Series

SPIRIT OF WATER ≣ Seascape

This series explores the presence of water as a shifting field of perception. The sea appears as horizon, movement, and depth, where light, atmosphere, and time unfold, shaping a continuous dialogue between water and what comes into presence within it.

The body of work is structured around four fundamental axes that maintain an interconnected dialogue across the different series, forming a conceptual framework for the visual work presented here.

This first axis examines space as a sensory experience and explores the relationship between territory, landscape, and nature. It brings together work centred on atmospheric variations, landscape forms, and relationships between matter, light, distance, and scale (Landscape, Seascape, Trees & Forests, Infrared). Infrared photography acts as a transversal process, shifting habitual perception and making perceptible dimensions that escape everyday experience of the natural environment.

This second axis investigates the marks of time inscribed in places, objects, and practices. It brings together work addressing material traces, historical heritage, traditions, and forms of collective memory (Traces & Remains, Traditional Practices, Medieval Fair, World Heritage, Resonances). Rather than just documenting the past, the photography seeks to recognise the marks through which different times remain present in space and in contemporary experience today.

This third axis focuses on how human presence transforms, organises, and inhabits territory, observing architecture, the city, and inhabited spaces as forms of organising experience (Architecture, Cityscape, Leisure). Built structures, urban geometries, and everyday spaces establish relationships of scale, orientation, and permanence with the landscape. The work observes how human intervention transforms territory and how places shape ways of inhabiting, moving, and looking.

Lastly, this fourth axis shifts attention from the photographed subject to the processes through which the image is constructed. It brings together essayistic and reflective work exploring the relationship between photography, sequence, narrative, art history, and visual experience (Visual Essays, Following the Art, Abstract). The image no longer functions as a record of the world but becomes a field of enquiry, where representation, memory, interpretation, and the construction of the gaze become part of the work.