Fiori Nudi
There is not a right way of describing one’s own work. It’s as much difficult as describing oneself. Sometimes it’s easier to let people talk about you — you think it’s more objective, but actually it’s not. What I know, is that we see the world through our own eyes and perspective. But there are things in this world that are still objectified. Among them there are females.
I think my work is much more than an aesthetic investigation on female sexuality. It’s more related to the identity and the role played by sexuality. It’s more about going deeper than the actual appeal of the female body.
We, as females, have been objectified by society and men since forever, starting from our childhood and then puberty to our womanhood. What I’m interested in is actually changing the female perspective on themselves. Oftentimes our mental image of ourselves is quite distorted, influenced and subjugated by social standards and men’s gaze. Oftentimes our identity doesn’t relate to how we appear and it’s difficult to feel comfortable in one’s own body.
In my body of work called “Fiori Nudi” I come to analyze —aesthetically, but also theoretically — the similarities between the body of women and the body of flowers. It started as a simple experimentation of shooting girls without all those layers — super-structures made of clothing and makeup — built on them to please the eye. I did it spontaneously without much thinking, but after a while I noticed how girls were comfortable and even loving their worst defects to be displayed.
Their body looked like a sculpture, majestic as a mountain or flexuous as a tree in the wind. I thought that my work could eventually drive the observers and the subjects themselves to look at those bodies in that candid way, without sexualization nor judgement.
Lately “Fiori Nudi” has been extended to include not only nudes and female subjects but also pictures of flowers. The meaning of “Fiori Nudi” is more layered and deeper than the simple juxtaposition between women and flowers, as some previously criticized. Starting from the similarities between the human genitals and the sexual parts of flowers, flowing to the resilience and strength which both of them share, heading to more abstract topics regarding the female identity: the fight for their own existence, for not being objectified as something little precious and fragile like a flower, and ultimately for their own desire.
There is not a right way of describing one’s own work. It’s as much difficult as describing oneself. Sometimes it’s easier to let people talk about you — you think it’s more objective, but actually it’s not. What I know, is that we see the world through our own eyes and perspective. But there are things in this world that are still objectified. Among them there are females.
I think my work is much more than an aesthetic investigation on female sexuality. It’s more related to the identity and the role played by sexuality. It’s more about going deeper than the actual appeal of the female body.
We, as females, have been objectified by society and men since forever, starting from our childhood and then puberty to our womanhood. What I’m interested in is actually changing the female perspective on themselves. Oftentimes our mental image of ourselves is quite distorted, influenced and subjugated by social standards and men’s gaze. Oftentimes our identity doesn’t relate to how we appear and it’s difficult to feel comfortable in one’s own body.
In my body of work called “Fiori Nudi” I come to analyze —aesthetically, but also theoretically — the similarities between the body of women and the body of flowers. It started as a simple experimentation of shooting girls without all those layers — super-structures made of clothing and makeup — built on them to please the eye. I did it spontaneously without much thinking, but after a while I noticed how girls were comfortable and even loving their worst defects to be displayed.
Their body looked like a sculpture, majestic as a mountain or flexuous as a tree in the wind. I thought that my work could eventually drive the observers and the subjects themselves to look at those bodies in that candid way, without sexualization nor judgement.
Lately “Fiori Nudi” has been extended to include not only nudes and female subjects but also pictures of flowers. The meaning of “Fiori Nudi” is more layered and deeper than the simple juxtaposition between women and flowers, as some previously criticized. Starting from the similarities between the human genitals and the sexual parts of flowers, flowing to the resilience and strength which both of them share, heading to more abstract topics regarding the female identity: the fight for their own existence, for not being objectified as something little precious and fragile like a flower, and ultimately for their own desire.
