ADHERENCES AND INDELIBLE SIGNS

This project explores the relationship between the body, its wounds, and the possibility of transforming them into a different visual language. It is an evocative, non‑descriptive invitation to look at our scars with a more open, gentle gaze.

This project originates from my personal experience and from the desire to transform the scars left by numerous surgical operations – including one for a malignant tumor – into a new visual language. I felt the need to create a self‑portrait that was neither static nor painful, but evocative: a way to give form to what I had gone through and, at the same time, to transform it.

The project, which began as an inner research, has evolved into a project that involves other people, often through word of mouth, who have undergone surgical operations and share a similar experience.
Each person involved indicates a place, a landscape, something that gives them serenity and positivity; I photograph the scar, then the place, and finally create the composite that unites them. The images come to life from the union of these two photographs.

The project dialogues with the philosophy of Kintsugi, the ancient practice of repairing ceramics with lacquer and gold powder, where the fracture is not hidden but revealed: the golden lines do not erase what has happened, they tell it. It is a slow process, like healing, which exposes fragility but celebrates strength. The object does not return “as new”: it returns more true, carrying with it the story of its wound and its rebirth.

With the same gaze, I began working on the scars: not to hide them, but to transform them. To let sweetness and light enter where there had been pain.
Each image thus becomes an invitation to look at our scars with a more open and gentle gaze, a gesture of acceptance and continuity.