Selecting, isolating, transforming reality as key concepts of photography have been pushed to their limits by cutting out in extrapolation and by masking digitally with black paint the circumstances of the depicted scenes present in the Acton Collection, giving new context to women and their representation. By concentrating on dissolution and simultaneously emerging of content, floating body parts and attributes play with ambiguity of intention: absence and lack of presentation become a springboard for our own suggestive imaginations. What is left in is as important as what is left out, the implications of the underlying narrative of these canvases function as a site of projections, which imagine conditions, connections, relations, circumstances in a historical and contemporary context for these figures, deprived of their identity, walking us through a series of worlds, becoming prototypes, becoming us. Their interference as luminous radiances in a kind of spectrometric view, the omission of context and the implicit emphasis on negation makes their presence more intriguing. Encompassing reduction and (dis-)appearing they unfold their evocative emanation.
Seen as signals that are equally intense on different frequencies like 'white noise', the paradox of traces and immateriality through exclusion reflects on the invisible presence, on their vulnerability and strength.
They are not part of, they are.
The body of work egress combines digital photography and analogue cut out collages, overlapping scenes in small shrines, accumulated images of women in their numberless representations in the collection, roles, positions, stereotypes, cliches or simple body shapes, by entering the bird cage in which their identities seemed to be restrained. A horror vacui idea of juxtaposing and assembling details of historical and contemporary materials meets an opposite approach of reduction, erasure and excision of the actual underneath lying painting - the eloquence of absence. This series makes part of the exhibition Regarding Women, New York University, Florence, Villa La Pietra.