I have made a number of experimental short films and video artworks, both digital and analogue, which have been shown at numerous national and international festivals.

In these films I explore the possibilities of a very short format, working on the viewer's perception, the dilation of time, the pictorial quality of the images and, often, the absence of dialogue.

It's a cinema of sensations, constructing poetic and dreamlike narratives as much through sound as through images.

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My cinematographic practice is traditional and solitary, like a painter.

I mainly use light hand-held cameras; I need agile devices to be at one with reality.

I frame, record, edit and compose the soundtracks for all my films.

It's difficult for me to pin them down to a specific genre or cinematographic tradition; I think I've been influenced by filmmakers who have experimented at the frontier of genres; travelled with their cameras in hand; created cinema intuitively from direct contact with the world and nature, in all its multiple manifestations; exploited the power of sound as much as that of images.

 

I have developed an analogue practice based on the use of old film.

At the outset, I was interested in working with these old films from a pictorial and plastic point of view. I was looking for the imperfections, the cracks, the instability of the images, a more mysterious vibration that contrasts with the sharpness of digital.

From the outset, I chose this tool to tell lost, buried stories, fragments of dreams and fading memories from an undefined past: I explore the other side of the mirror, the negative side of reality.

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One of the dimensions specific to my cinema is that of travel and surveying: I shoot while walking, and for me the camera is first and foremost a tool for exploring a territory, its inhabitants and the stories it hides.

In 2018, for example, I spent five weeks filming sheep, goats and vultures living self-sufficiently in an abandoned village in the mountains of Crete, Greece. I knew this place well, an enormous piece of volcanic rock between sky and sea. In these short films I wanted to capture the beauty and mystery of these animals. Human beings do not appear, as if they had disappeared forever and the silence of the world had swallowed up their words.

 

I also work with archive images.

In this process of reappropriation, I work with or against images, highlighting what they resist and their semantic transformation over time.

It's a way of re-enacting images to understand how they shape the way we look at them and how they resonate today.