During my first period in Italy, the train, useful for necessary journeys, revealed itself above all as a means through which a new geography expanded and took shape.
Paisagem Adentro takes the form of a moving portrait across territories in northern Italy. An attempt to register the continuous unfolding of houses, roads, fields, cities, and factories. A glass cinema in which the gaze moves without settling, and where motion turns the landscape into a provisional experience. A space-time in which recognition is partial and memory is built through sequences.
In the gap between movement and observation, the landscape ceases to be a destination and becomes a space of passage. A territory seen in transit that is defined more through the continuity of its transitions than through the singularity of its places.
PAISAGEM ADENTRO
During my first period in Italy, the train, useful for necessary journeys, revealed itself above all as a means through which a new geography expanded and took shape.
Paisagem Adentro takes the form of a moving portrait across territories in northern Italy. An attempt to register the continuous unfolding of houses, roads, fields, cities, and factories. A glass cinema in which the gaze moves without settling, and where motion turns the landscape into a provisional experience. A space-time in which recognition is partial and memory is built through sequences.
In the gap between movement and observation, the landscape ceases to be a destination and becomes a space of passage. A territory seen in transit that is defined more through the continuity of its transitions than through the singularity of its places.
During my first period in Italy, the train, useful for necessary journeys, revealed itself above all as a means through which a new geography expanded and took shape.
Paisagem Adentro takes the form of a moving portrait across territories in northern Italy. An attempt to register the continuous unfolding of houses, roads, fields, cities, and factories. A glass cinema in which the gaze moves without settling, and where motion turns the landscape into a provisional experience. A space-time in which recognition is partial and memory is built through sequences.
In the gap between movement and observation, the landscape ceases to be a destination and becomes a space of passage. A territory seen in transit that is defined more through the continuity of its transitions than through the singularity of its places.