Virgin wheat like a prologue in two acts broken by Artaud’s words. Distant faces flake from the walls of the 15th-century church of Santo Stefano in Soleto, in the province of Lecce, while violence overflows from the framing. Now their eyelids spread the intimacy of the former mill Coratelli & Imparato, in Corigliano d’Otranto, with a subjective shot that dilutes the forms levelling them into a precious shroud: a landscape lost into a darkroom where the eye disappears among veins and arteries of a body enable to exhumation.

DIRECTOR’S NOTES:
Deposition in two acts is part of the series of my works that investigate places abandoned by human society, places damaged by history (artistic, cultural or social), and that are now trying- in vain-to cling on to life. They are like dying heroes on the edge, perpetually waiting. The scarred faces of the frescoes, distant and aware of their destiny, examine the spaces of the mill, and force the eye to overlook an exhausting sight: faded surfaces, caressed before being harassed to the depth of their arteries. Not a repetition, but an assiduous pathology, deprived of its concept because repetition is "difference without a concept" (Deleuze). Not the tale of beauty, let alone the one of ugliness: we are trying to capture the beauty nursed by the ugliness.
Each framing means take possession of the imprint - shroud or soul are too “refined” words - it is an attempt of levitation or a flight crowned with a halo in order to give the fair dignity to these places and objects which give thought to the precious paintings of Vermeer and some works of Rauschenberg or Kiefer…so the shit acquires added color value and necessary in these “abandoned paintings”.