I was born in Tuscany, a land that taught me through its landscapes how light plays with space.
My encounter with photography was very random; when I was ten I had fun taking pictures of the ceilings of rooms.
The most conscious contact took place through cinema during the History and Criticism of Cinema courses I took at the University of Siena.
I spent my days watching films.
With Ėjzenštejn and his art of editing and with Vim Wenders and his ability to explore life giving value to time and poetry I discovered how much the image could be a tool to enter life, explore it, and get to know it a little bit more.
If I had not been a photographer I would have been a researcher; then photography came, and as opposed to cinema which is a more complex machine, it allowed me to explore in greater autonomy. I ended up becoming a researcher anyway: of images with a machine in my hands.
I feel very much that I am an artisan as I have always approached this art starting from going to the shop. I started my training by following professionals with more experience and through practice: photographing, photographing, photographing. Then in 1999, I decided to open my first studio and make photography my job.
I like space and panoramas, but what I feel in my nature is the constant call to human geography: faces and bodies, actions and emotions.
That’s why I chose the portrait in all its nuances as a natural consequence in my expressive research.