In this sense, the twofold role of veiling is investigated through the analysis of several case studies, each of which brings to light different meanings. The aim is to apply the concept of veiling to different types of covering, and to investigate the extent to which the very materiality, physicality of the veil and its context of reference influence the perception of the covered object.

Developed in three books, consists of a visual journey through the places of my youth and adolescence. The underlying theme of the collection is that of immobility, a typical feature of the realities located on the border between the city and the countryside, no man's land where nature is only touched and sometimes scratched by human hands.

The large-format book contains full pages and cut pages that create, in leafing through, the mixing of subjects and the creation of new ones; where nature, man, black and white and colors come together in unexpected scenarios.

La Nebbiosa narrates about a wild night of a group of teddy boys, contextualised in a period of economic boom in the city of Milan. As the script has never been translated into a film of note, the project aims to fill this visual gap by depicting a scenario, always described through the light, the dynamism of the characters, and the night setting. 

The project concretized in 16 monochrome photographs taken with the long exposition technique to highlight these characteristics, attempting to visually restore the poetic character of Pasolini's descriptions.

The photographic reportage is used as a privileged tool to narrate the identity of the Canal Saint Denis site.

Due to the industrial context in which is situated and since it has been the scene of social injustices (Paris massacre of 1961), it became a place characterised with multiple issues like precarity, migration, social mix, insecurity, as well as urban transformations with the risk of gentrification. 

To make a commendable choice regarding the materials for the new project’s design assumes a fundamental role in it, and essentially determinate its accomplishment: this scientific methodology of arrangement is utilised to investigate the Triennale di Milano’s photographic Archive.

The catalogue is composed by 1933 photographs, organised in five categories (ceramics, metals, textiles, woods and plastics), and designed taking with a precise rhythm, from micro to macro: the images, initially presented in their totality, are going then more specific adding a more specific degree of detail.

Through the investigation with photograms in Camera Obscura, it was pursued the idea to use some plastic bottles as principal subject of the experiment, focusing on the nature of the material and its possibilities. 

The shapes obtained after modelling, burning, folding the material are used as main content in the cover, and try to give an idea of organicity which is completely opposite to the nature of the material itself.

This album is all about the creation of a dreamlike and confused atmosphere, with the superimpositions of voices, the psycho rhythm, and fragmentation.

This mood is particularly stressed by using the pair of colors red/violet, which results deliberately annoying for the sight.

Taking Boris Mikhailov's Case History (photographic collection exploring the condition of the homeless in Kharkov in the late 1990s) as a case study, this essay reflects on the difference between pure documentary photography and the desire to make performance art. While the former seeks instantaneous shock, lapsing into victimisation of the subjects, the latter focuses on the dialogue between them and their context, which becomes fundamental to the composition. 

The subject becomes a performer and the defects that characterise him become the creators of a new aesthetic. In this way, the viewer's reflection shifts from the subject to the surrounding environment, which is perceived as the main cause of the subjects' condition.

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