In the time span of three years I’ve taken pictures in Italy, France, Turkey, Thailand and Kosovo.
I took pictures of unfamiliar places, pictures of strangers.
The flash of the camera has consecrated my epiphanies, impressing the shroud that lies on the subjects whose truth I’ve discarded.
These images are relics of the invisible.
Every picture has an undeniable subject, no space left to distraction.
Every picture becomes a tarot card, a singular representation of a collective perception.
What connects the pictures of this series is that, as the title suggests, after years of pictures in a “comfort zone” made of people and places I feel comfortable with, almost all the pictures of “Farang” have been taken in circumstances that are alien to me. What happened in front of my eyes and my emotional and visual interior mold together in order to create a personal interpretation and narration of things, places and people, transforming something that is extraneous to me into something that speaks of me.
The process of discovery, the process of unveiling someone’s fortunes or misfortunes of tarots’ reading is not far from my idea of photography but there are more than one analogy with tarot cards: in this body of work almost every picture has an evident subject, a single element, a person or an object that throughout the picture, acquires a larger meaning, becomes a symbol of something bigger and collective, a new archetype…the child, the staircase, the mask, the hanged child. Usually, as a photographer, I don’t want to leave a complete subjectivity in the reading of an image; I try to suggest the meaning of my pictures but, as with tarot cards, different readers give different meanings to what they see.