An other, rather than someone, something more. The human-camera, the human-action, the human-matter, the human-affect, intersected with the things, impregnated with the surroundings, altered in dissolution. Becoming even the other reality, in contradiction with the similarity, assembled in a flux of actions that are irreducible to self.

The camera-witness is reconstituting events of the memory which become notes about places; while others are present there, together with someone that is not there anymore, but with merely the memory of his image. Face-to-face, but without anyone being seen, in a transmutation without finality, in the spirit of forgetfulness, when is enough to know, that it has happened to you, but not mattering to remember. The encounter makes possible the overthrow of the situation, not through empathy, but through the acceptance of the happenstance to reconsider the possibility to immerse in the body-without-organs of the natural scene, in the abstract space of the refusal to detach yourself and ignore the chance to transpose yourself in something that is not only you.

In the calculus of the alienation, the objects become constitutive in addressing. The shutter release wire is crossing the image and connects to the unpredictable mind of the viewer. Here, the photographer lets his subjectivity lose itself in the understanding of the other’s way of looking, but it is also here where he defines its own persona, in a tension engaged in a winding movement to defy the certitude of the equilibrium.

Imperceptible, indiscernible and impersonal, the one about it’s been said that becomes is experiencing the melancholia and is letting the absurd to be understood. It fulfils the reduction to abstract lines, to axes and graphic compositions. It draws himself in complicity with its inverse, perplexedly harmonized with the fair scheme of the self-contradiction: searching and retrieved, lost and discovered, absent, but present.

While corporality is no longer in play, by not belonging to him any longer, it is up to gestuality to decide and uncover his intentions. The sculpturality is in the dynamics of avoiding the monumentalisation, the stagnation in a posture, while the theatricality is in the statics of emphasizing the declamation, the dramatisation in contingency. Imitating nature, expressing the creativity, formalising the image, he is composing himself in relation with whom he will not renounce not to be assembled, with something else, becoming imperceptible.