"Amongst many labels, certainly I am not a photographer.  


The shutter as a metronome stresses the unstructured composition of my flow, echoing distant in the harmony of life. 


Here and now, the apparatus helps my attention to fall on the unpredictable harmony of fractioned moments. 


Time declines as my presence strengthens. 

Vessels are shaped from the light traces of my path, revealing life under its true fictitious nature.

Shapes of time, forms of being, single notes. 


Where were you when Spring came? 

Where will you be when the Winter will come?

Look for me in the Summer time. " 

A substantial portion of the artist's personal research on the Image concerns the analog process. 

The following selection focuses on the Trace in photography; the actual tangible medium which has been replaced by the magical process of coding in digital photography. 

The transition from analog to digital has come in the nature of a reform, but it still has not come as a revolution. In fact, an analog or digital a photograph is still a photograph. The hardware of the camera remains the Renaissance concept of the Camera Obscura. What has changed is the way we preserve and share the images. One process is tangible, it exists as photography in the form of positive or negative prints. The other one has overcome the real generating icons made of numbers which manifest themselves on screens. 

Photography as a result of the digital reform has left behind some interesting features of its previous analog time, which are taken and explored by the artist in the series. Gianmarco's favourites among those features are mystery, presence, mistakes, time, distance and limitation. These attributes are active parts of the photographic process, but what the actual core of these selections of images is the experimentation during the chemical process. This procedure in between is only possible due to the physical existence of the film negative. 

Similar to other techniques in art history, the digitalisation of photography has raised awareness on the values of the previous one. It has liberated the analog process from the commercial fields of photography, inviting it to become a choice for the artistic practice.

The artist here alters the state of the pictures by experimenting with the chemical essence of the negative. In this way other elements are added to photograph. It is not only about representing what is out there, but also interpreting it subjectively by adding additional elements to the normal photochemistry. The artist has a real connection with the film rolls, and he knows that whatever will happen to the negatives before and after their final development will affect the final results. This approach translates photography into a performative act, where the photographer can physically transform his results by treating his film rolls and cameras differently - becoming essentially a performative artist. The act of taking a picture is therefore only a part of the process, and photography is extended to a true state of being.

These works are therefore about contact, play, experiments, learning, and ultimately dancing with life.