1)SS_Toscana-99_133-D

4)SS_Toscana-102_D-_36

5)SS_Toscana-100_13-D

6)SS_Toscana-100_18-D

7)SS_Toscana-99_114-D

8)SS_Toscana-100_27-D

9)SS_Toscana-95_75-D

10)SS_Toscana-100_65-D

11)SS_Toscana-97_69-D

12)SS_Toscana-99_26-D

13)SS_Toscana-101_95-D

14)SS_Toscana-100_96-D

15)SS_Toscana-99_112-D

16)SS_Toscana-94_21-D

17)SS_Toscana-99_67-D

18)SS_Toscana-100_51-D

19)SS_Toscana-99_69-D

20)SS_Toscana-101_57-D

21)SS_Toscana-97_59-D

22)SS_Toscana-100_61-D

23)SS_Toscana-95_27-D

24)SS_Toscana-101_92-D

25)SS_Toscana-101_5-D

26)SS_Toscana-97_38-D

27)SS_Toscana-99_56-D

28)SS_Toscana-95_14-D

29)SS_Toscana-100_50-D

30)SS_Toscana-99_49-D

31)SS_Toscana-100_82-D

32)SS_Toscana-95_92

33)SS_Toscana-100_16-D

34)SS_Toscana-96_37-D

35)SS_Toscana-102_D-_34

36)SS_Toscana-101_15-D

37)SS_Toscana-101_36-D

38)SS_Toscana-96_18-D

39)SS_Toscana-99_54-D

40)SS_Toscana-95_54-D

41)SS_Toscana-101_3-D

42)SS_Toscana-100_72-D

43)SS_Toscana-96_34-D

44)SS_Toscana-97_53-D

45)SS_Toscana-97_96-D

46)SS_Toscana-99_107-D

47)SS_Toscana-99_91-D

48)SS_Toscana-96_139-D

49)SS_Toscana-97_93-D

50)SS_Toscana-101_70-D

51)SS_Toscana-95_100

52)SS_Toscana-97_36-D

53)SS_Toscana-99_19-D

54)SS_Toscana-101_22-D

55)SS_Toscana-96_117-D

56)SS_Toscana-102_D-_32

57)SS_Toscana-100_19-D

58)SS_Toscana-96_30-D

59)SS_Toscana-101_35-D

60)SS_Toscana-101_73-D

61)SS_Toscana-97_94-D

62)SS_Toscana-100_54-D

63)SS_Toscana-94_20-D

64)SS_Toscana-99_73-D

65)SS_Toscana-100_55-D

66)SS_Toscana-96_60-D

67)SS_Toscana-97_81-D

68)SS_Toscana-100_38-D

69)SS_Toscana-99_102-D

70)SS_Toscana-94_11-D

71)SS_Toscana-100_77-D

72)SS_Toscana-99_82-D

73)SS_Toscana-96_100-D

74)SS_Toscana-102_D-_73

75)SS_Toscana-99_105-D

76)SS_Toscana-100_89-D

77)SS_Toscana-95_34

78)SS_Toscana-99_8-D

79)SS_Toscana-97_91-D

80)SS_Toscana-100_40-D

81)SS_Toscana-101_40-D

82)SS_Toscana-97_77-D

2)SS_Toscana-100_86-D

3)SS_Toscana-97_12-D

TUSCANY – A NEW FORM OF LANDSCAPE – Session 1

Tuscany is a landscape we think we know.

Its hills, rows of vines, dusty roads, cypress trees, cultivated fields, and the soft geometries of the countryside have always been part of our imagination. We’ve seen them, photographed them, and recognized them a thousand times.

Yet, all it takes is a change of perspective to discover that that landscape conceals another identity.

This research gave rise to this series of photographs taken with a drone.

As it rises from the earth’s perspective, the landscape gradually loses its narrative dimension and becomes visual matter. The hills transform into surfaces, the roads into lines, the fields into chromatic fields, the trees into graphic signs. Depth diminishes, revealing a structure made of shapes, proportions, rhythm, and color.

The drone, therefore, is not just a tool for photographing from above.

It’s a way of looking differently.

In many images, the horizon disappears completely. Only the surface of the earth remains, observed as a vast natural canvas on which light, crops, seasons, and human intervention have constructed ever-changing compositions.

It is precisely in the suspension between landscape photography and abstraction that this research finds its dimension.

I don’t necessarily seek the most recognizable Tuscany, that of postcards and iconic places. Rather, I seek fragments of territory capable of becoming autonomous images: a curve, a texture, a succession of colors, a trace in the earth, the pattern of a crop, an unexpected geometry.

Aerial photography thus allows us to see what remains hidden from the road or a panoramic point.

And above all, it allows us to question our very idea of landscape.

FROM LAND TO IMAGE

These photographs arise from a direct relationship with the Tuscan landscape and from a careful exploration of the conditions in which light, season, and geometry can meet.

Every flight becomes an exploration.

It’s not simply a matter of seeking a panorama from above, but it’s about identifying a composition that can function as an image, regardless of its location.

The landscape is thus observed almost as an abstract work.

Its natural forms interact with those created by man; the colors of the earth change with the seasons; shadows continually modify the perception of surfaces; the lines of roads and vine rows introduce rhythm and direction.

Sometimes the image retains enough elements to allow us to recognize Tuscany.

Other times, that reference disappears.

And it is precisely then that the landscape becomes something different: a composition of colors, signs, and shapes that could belong to any place and, at the same time, only to this one.

A MORE INTIMATE, MORE GRAPHIC, MORE CONTEMPORARY TUSCANY

This selection represents part of a constantly evolving photographic research.

A research in which drone technology is not used to sensationalize the landscape, but to get closer to its most essential visual structure.

The result is a Tuscany far removed from traditional landscape representations.

A Tuscany made of silence, geometry, surfaces, and chromatic variations.

A Tuscany that from above reveals a second nature.

These images are my way of seeing it.

(Availability of Photographs for Licensing- Editorial · Publishing · Exhibitions · Fine Art Prints · Interior Design)