INSTRUMENTA
The hand is one of the first instruments through which human existence encounters the world.
In INSTRUMENTA, the hand becomes a means of expression through which visual form makes perceptible concepts that transcend its original function. Through composition and image transformation, the body is removed from its customary representation and brought into new relationships, in which meaning no longer coincides solely with what is represented.
In Liviana, the hand encounters a net that restricts its movement, becoming an expression of constraint and of the conflict between possibility and limitation. In Cinna, the relationship between hands and legs generates a configuration in which meaning arises from the relationships between the parts rather than from the individual elements themselves. In Procula, the gesture takes the form of modesty and concealment, while allowing the possibility of revelation to emerge. In Atria, the hand becomes a physical barrier separating the individual from their psychological projection, making visible a distance between outward presence and the inner dimension.
The hands remain recognizable, but their function is no longer exhausted by action or gesture. It is the relationship between the elements, constructed through the image, that generates new possibilities of interpretation. Form does not merely represent an already defined concept: it helps make that concept visible, assuming meanings that do not necessarily belong to the original nature of what it depicts.
INSTRUMENTA thus explores the possibility that a concrete form can become a vehicle for further meanings. Through photography, what belongs to visible experience opens onto new configurations, in which Existence can manifest itself beyond the immediate meaning of forms.