Luigi M. Verde

"Solitudes are not mere separations, but paradoxically become the medium through which a new form of communion is generated. Each element of this human collage maintains its own irreducible singularity, yet participates in a common discourse: profoundly alone in its subjectivity, yet connected to others through this same recognized and shared solitude."

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From this rhizomatic perspective, the hybrid images that form the heart of the project take on the nature of authentic quasi-objects, in the sense Michel Serres attributes to this revolutionary concept. They are not simple artistic representations or anthropological documents, but active mediators that circulate within the exhibition space, generating new subjectivities and unprecedented forms of relationship...

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Even a deferred presence becomes the very structure of the visual: traces without origin, signs that refer to gestures no longer present, meaning that always arrives later. Every presence is constitutively inhabited by absence, and thought emerges from this differential structure. Not nostalgia for a lost origin, but a celebration of the image's capacity to evoke impossible presences that do not represent the world but, in a certain sense, generate it...

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What happens when photography ceases to be a simple representation of reality and becomes an active form of thought?visio(so)phie, foto[so]phie, and meta{so}phie is the title of a vast theoretical and visual project that presents itself not merely as a short essay, but as a true conceptual device. A hybrid work in which visual art, philosophy, and language meet, collide, and transform…

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There exists an intimate and hidden space where reason and madness meet, giving birth to a visual archaeology of the human soul. In this work, I seek to inhabit that fragile fault line where meaning trembles, reconstituting itself in new and unexpected forms...

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In the hidden heart of our interior landscapes lie "common places" that no image can ever fully tell. Yet, paradoxically, it is precisely through photography that these spaces can speak to us again, revealing that dimension of experience that contemporary speed has made invisible. What makes a place "common"? Not its banality, as we might think, but rather the excess of meaning that makes it transparent to our accustomed gaze.

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Have you ever looked at a photograph and felt completely free to interpret it? That freedom, which we often mistake for expressive richness, actually hides one of the deepest paradoxes of contemporary visual communication. Every time we find ourselves faced with an isolated image, we enter an unstable semantic territory, where meanings multiply and disperse without control.

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In his Novum Organum of 1620, Francis Bacon identified four categories of idols, false notions that hinder authentic knowledge of reality. These idola represented four cognitive vices that prevented access to truth: the idola tribus (of the tribe), rooted in human nature; the idola specus (of the cave), deriving from individual inclinations; the idola fori (of the market), generated by social language; and the idola theatri (of the theater), produced by dominant philosophical systems. Looking at the panorama of contemporary art with the diagnostic acuity of the English philosopher, a worrying picture emerges: today's artistic system seems pervaded by mechanisms that closely resemble these ancient obstacles to knowledge.

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The ancient statue, with its marble perfection, represents the human aspiration toeternity through form. But it is in the photographic trace, in its capacity to beindefinitely reproduced and reinterpreted, that the true nature of the contemporarysign manifests itself. It is not decoration, but arcane substance: it is the archetypalcode that Derrida speaks of, that original form that allows thought to existindependently of the one who thinks it.

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The silence of the soul is a state of total receptivity, a condition of deep listening that precedes any form of authentic knowledge. “La pietra che respira è quella che ha conosciuto il silenzio dell’anima” becomes both metaphor and reconciliation of matter that has transcended its inert condition, through a spiritual metamorphosis and thanks to an encounter with contemplative silence.

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Three identical muses and queens, draped in elegant evening gowns and their faces concealed behind bovine‑skull masks, conjure a modern echo suspended between classical tragedy and medieval sacred pageantry...

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Three identical muses and queens, draped in elegant evening gowns and their faces concealed behind bovine‑skull masks, conjure a modern echo suspended between classical tragedy and medieval sacred pageantry...

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This stone is an oxymoron sculpted by nature and chance, geological memory and instantaneous fracture, polished like an ancestral thought on one face and torn like a sudden trauma on the other...

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A statue, millennial emblem of formal perfection, becomes a battlefield for opposing forces. In the interstice between truth, freedom and world, opens the scarlet wound that breaks and traverses the work, not a scar but rather a revelation, a tear that unveils the impossibility of harmonious synthesis....

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Peace is not a place to reach, but a gaze to cultivate. A gaze capable of seeing the light even when the clouds seem to have conquered every corner of the sky. A gaze that can recognize, in the cracks of the world and in the wounds of existence, not only the fragility of what passes, but also the stubborn, wonderful persistence of what, despite everything, continues to flourish.

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In the panorama of contemporary aesthetic philosophy, few concepts shine with such an intense and revealing light as that of the thoughtful image, masterfully theorized by Jacques Rancière. A conceptual constellation that, like a prism, refracts and reconfigures our understanding of the visual, inaugurating unexplored territories of critical reflection and aesthetic sensitivity.

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In this space between traditions and new visual languages, between virtuality and physicality, between concept and matter, I find my most authentic expressive dimension. I am not interested in resolving ambiguity, but in inhabiting it consciously...

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The fusion between the intimacy of personal storytelling – a love declared through the lens – and universal reflection on art and time

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Introducing "L'ho visto con gli occhi di un clown" from my blog:

#photography #portrait #blackandwhite

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Introducing "Se mi fai il ritratto ti sparo!" ('If you take my portrait, I'll shoot you!'): a black and white photographic exploration of the conflict between the craving for visibility and the ancestral terror of being discovered. 

#photography #portrait #blackandwhite #contemporaryart #IfYouTakeMyPortraitIllShootYou

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