“I like Italo Calvino’s idea of ‘continuous cities,’ as described in ‘Invisible Cities.’ He suggests that there is actually just one big, continuous city that does not begin or end: ‘Only the name of the airport changes.’ What is then interesting is to find, in that continuity, the less-obvious differences of texture: the signs, the markings, the assemblages, the things hiding in plain sight in each cityscape or landscape.

‘Should we have stayed at home and thought of here?’ But to have merely thought of here would not have revealed its subtle peculiarities, the peculiarities that are not written in guidebooks. Only direct observation can reveal those. The way streetlights and traffic signs vary, the most common fonts, the slight variations in building codes, the fleeting culture of ads (different in each place, even when the company is a multinational), the noticeable shift in the range of hues that people wear in a given city, the visual melody of infrastructure as it interacts with terrain.”

—from “Far Away from Here,” The New York Times Magazine

I write On Photography, a monthly column, in the New York Times Magazine. The column was a 2016 finalist for a National Magazine Award.

Blind Spot was published by Random House in June 2017. The accompanying solo exhibition, Blind Spot and Black Paper, was held at Steven Kasher Gallery in New York City in the summer of 2017. My debut solo exhibition, Punto d’Ombra, was presented in Milan in 2016; the accompanying book (Italian edition of Blind Spot) was published by Contrasto.

Black Paper, a solo performance with multimedia installation, was commissioned by the 2017 Performa Biennial and presented in New York City in November 2017. The New York Times described it as “quietly grave” and “thoroughly devastating.” It will be presented in San Francisco, at the De Young Museum, in the spring of 2018.

On my Instagram page, I experiment daily with words and images.