Nothing is left to tell
The title of the cycle ‘Nothing is Left to Tell’ is a quote from the closing of Samuel Beckett’s late play, an examining account of experience of presence.
Since childhood, we have had moments in which we think the world is stopping.
Reasons for such encounter of external realm are unknown; our surroundings suddenly stop in those glimpses, revealing to us more than the motion allows.
Each photograph taken from those events, objects and circumstances - becomes a proof of that sort of feeling. In these laps rises a wish for oblivion, joining both our experience of matter and of beings. In such moments Beckett’s sentence proves its universal meaning.
Therefore, photographs reach an irrational depth of the visible world, diffused between the awakening of memory and a status of oblivion.
Even Doctor Freud himself, at the dawn of 20th century gathered photo-evidence of ruins of antiquity around Naples, striving through geographies of the mind.
His archives consisted of randomly chosen pictures from these journeys, making a phantom-like encounter with enormous and unnamable assumptions.
Our intimate, recollected or repressed past is rooted as a dominant and an active energy, being in permanent conflict with our present. The result is surprise and bewilderment that holds us unexpectedly. This makes the photo series also a productive encounter with the Beckett’s kind- -of-Hell: in front of the elevator, behind the curtain, above a pile of coal, in neglected passages and in the gazes of strangers.
Photographed imagery is a ferocious examination - a dystopian depository of our world. It is the presentation of the absurd of matter and the triumph of matter.