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"When I made The Joins I was thinking about how women's sexual desire is not as clearly linked to images or signs as men's often is, for example women's underwear is fetishised by the male gaze, but the same cannot generally be said for male underwear, male underwear is less fetishised by women, but perhaps is fetishised by homosexual men."
"I do not have a deep or political point here, all I wanted to do is play with this kind of mistake where a man's very ordinary underwear or jeans is the focus of a woman's gaze, this is very much linked to the work Shelter for A New Youth, that included photos attached to trees, of men's crotches, and the film Carlo's vision that also focuses on the crotches of the walkers at the point where sexuality is discussed, it´s like a mistake, looking in the mechanical location of the sex, to find the mythology - the desire, which is always placed elsewhere."
Carlo’s Vision was shot in the summer of 2011 in Tor Pignattara, a working class suburb of Rome, beloved by Pasolini and the location of his 1961 film Accattone. The shift between reality and the vision is marked by the use of color. When looking through Carlo’s eyes, we see fragments of bodies, hairstyles, clothing, and sexual parts, which are first suffused in a bright red light, turning to orange, yellow and finally vivid green as he proceeds along the blocks of the street. Through these techniques, simultaneous layers of reality are described.