Wrecks - Segments of human landscape

This work has been inspired by many visual suggestions, such as the images of bathers at Coney Island taken by Martin Parr.

Or the photos of the beaches of Mario Giacomelli, those taken from the plane.

Or photographic-literary suggestions such as the famous phrase by Walter Benjamin about Eugène Atget:

“He photographs the streets (of Paris) as if they were places of a crime".

Finally, purely literary suggestions, ideas borrowed from the writer Alessandro Baricco and his novel OceanoMare:

Se c'è un luogo, al mondo, in cui puoi non pensare a nulla, quel luogo è qui.

Non è più terra, non è ancora mare.

Non è vita falsa, non è vita vera.

E' tempo.

Tempo che passa.

E basta...

The Author wanted to make images of bodies lying on the water's edge, shot in pieces, in ambiguous poses in the sense that they could look like corpses.

The images had to give a sense of restlessness as if the place were, in fact, the scene of a crime. 

The real protagonist of the work is the passing of time, with the bodies lying waiting for someone or something (maybe they do not even know what they are waiting for), bodies that unknowingly approach their final destiny, some of them perhaps already corpses without knowing it.

The work could be seen as a corollary to Baricco's sentence:

"it's just time that passes, and that's it ... waiting for death that has already caught someone, perhaps without his knowledge".

The Author wanted to tell the passing of time that is ineluctable, the waste of time, the waste of our life.

In an almost suspended place. But if the place is suspended, time is not. Time passes.

The bodies "pieces" gave more anxiety, they seem the photos taken by the legal doctors on the scene of a crime (again).

Finally, the images gained more strength by adding a Polaroid-like patina,

typical of the old, yellowed photographs, made with an old camera by the father of the family who pull themselves out of the drawer after 30 years.

We could call it the "memory of color".