Lazzaretto,  Contaminazione, Interfaces.

In the milieu of the global pandemic, a period marked by an unprecedented cessation of quotidian rhythms and a palpable sense of isolation, my artistic trajectory found its course navigating towards Venice to realize a series of photographs that I have titled "Lazzaretto," a term historically rooted in the city's response to contagions. The etymology of 'lazzaretto' traces back to the isolation hospitals established during outbreaks of the plague, serving as quarantine stations for maritime travelers. These institutions, named after the biblical figure Lazarus, symbolize both seclusion and the hope of recovery, themes poignantly resonant in the contemporary context of COVID-19.

The "Lazzaretto" series is characterized by its adherence to a methodology of unaltered photography, eschewing any form of montage and consisting strictly of straight shots. The foundational element of this series is the use of the vaporetto's glass windows as a lens through which the external world is perceived and captured. The vaporetto, a quintessential Venetian mode of transport, becomes an instrument of artistic exploration, its windows framing and refracting the city's aquatic tapestry.

Central to the visual narrative of "Lazzaretto" is the interplay of light and water, elements intrinsic to Venice's identity.

In executing the "Lazzaretto" series, the process was one of deliberate restraint and observation. This approach aligns with a broader philosophical inquiry into the nature of perception and the role of the observer.

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