If the eyes can be compared to the mirror of the soul then pictures can be seen as a reflection of an individual perceptual sensitivity and the camera as a bucket to feed water from this well. An opening that allows to tap into the reservoir of visual perception, not in that of reality. (Ta lis Lus dai Voi)

Reality is infinite and camera is just a medium (a tool): it contains in a more or less equanimous way both some of the features of reality and the individual perception of who is using the tool. If we accept that our individual vision is not all what can be seen, but instead what we actually select to see, even more pictures do capture exactly this: our individual "take", just as much as there exists an individual cognitive take of events, facts, pepole.

The non-objectivity of photography is a known and well discussed fact from which I have drawn ispiration. Constricted by the boundary of the printed format, it compels the eye to see as foreground aspects that could otherwise be missed, without sounds, odours and other sensual perception. Deprived by the senses other than sight, this so-called picture is a bogus and the image is simply an extremely well done artifact, an hyperrealistic portrait appealing to imagination and personal interpretations.

Following these thoughts, it came natural to look for the specificity of the medium, to get away from photography as a reality simulation and to bring up front its capability as an artistic tool. Considering Time & Light as the functional elements, then it was natural to focus on them and take them to an extreme in order to allow this specificity to emerge. (Analyzing the behaviour at the boundary ...) First in the most radical way by using very long exposure times in extremely dark environments (8 hours or longer). Second, by super imposing shoots (multiple exposure on the same frame) so as to leave the image emerge on the negative, without much control. Then by taking another approach and taking the "limitations" of the medium to an extreme: super tight selection, extracting images from their context and showing shapes, shadows, light, movement of lines and light.

Laura Menichini - Intorno allo zero ---- Book cover
La comugne - cover special litterary issue #01
John Duncan & Pansonic - Nine Suggestions ---- CD cover
John Duncan - The Keening Towers --- booklet
John Duncan & Elliot Sharp - Tongue ---- CD cover and inside
John Duncan & Densil Cabrera - Infrasound Tidal ---- CD inside cover
John Duncan - Phantom Broadcast ---- CD cover and inside
John Duncan - Fresh ---- CD cover and inside
John Duncan & G.Stefani - Palace of Mind ---- CD inside cover
John Duncan & B.Guenther - Home Unspeakable ---- CD inside cover
John Duncan - Tap Internal ---- CD back cover
John Duncan - Access Denied ---- photo documentation
John Duncan - Stress Chamber ---- photo documentation (1996 - Linz, Austria)
John Duncan's portrait ---- > The Wire

- Contraction ---- CD cover
G.Toniutti - Epigenesi ---- booklet enclosed to LP


Thanks to BB, John Duncan, Laura Menichini, Lorenzo Missoni, Margot Schenk, Giancarlo Toniutti, Giorgio Tomasini, Nelida Toniutti, Sandra Zeugna;
a special thanks to *!*Remix*!* webdeveloper