Fine Art nominee

These images are part of a study on plants carried across a set of locations. Here we are in the "Zwin" natural reserve in Belgium, a strip of land between beach, dunes, mudflats and salt marshes. Plants here have special characteristics (they are called halophytes), as they can resist to salt water and can bear to receive little water for longer than average periods of time. What will happen to this area in a 2+ degrees warming scenario? In these pictures Zwin's nature appears to be lit from the inside by a devouring fire. The eerie beauty of an altered Zwin evokes the urgency to act, preventing the 2°+ scenarios to occur. These images exist in formats up to 106 X 200 cm in Alu Dibond (metal finish) or Fuji Crystal Pearl (metal finish). Both guaranteed 100+ years (and recyclable).

Raised between Rome and Florence, molded by a family culture governed by art, politics and public policies, unsurprisingly I took the risk of developing several inclinations at once. My artistic focus is on organic, living matter: its orderly and chaotic patterns, its quantitative color relationships, its light-shaped volumes. By broadening reality, digitally and in studio, or by getting closer to its true - often non figurative - substance, I study both the aesthetic response to our natural environment and, through that, a set of policy issues, such as biodiversity, conservation, circular economy. Ernst Haas' color work in "The Creation", discovered in my teen years, Minor White's Gestalt inspired pictures, Stieglitz's equivalents, German expressionists 'strong harmonies', Schiele's tertiary colors palettes inform my work, together with the Dutch Golden Age still lifes with flowers, Guido Mocafico or Oliviero Toscani advertising lighting techniques. In my more personal work, one can recognize formal decisions inspired by (or quoted from) contemporary, mostly European, photojournalists such as Paolo Verzone, Denis Daillaux, Paolo Pellizzari, Paolo Woods, Cedric Gerbehaye, Steeve Juncker, Rip Hopkins. I tend to produce my works in the formats of medium and large format photography, often with a preference for panoramic ratios. My practice develops