Anti-crash_jpg is inspired by itself.
The collection was born in the illusion of having made a mistake during its conception.
I have always worked using photography as a means of expanding the energies that inhabit me.
In my first collection "Voce del verbo" I worked by fusing photography with AI jpg results, creating an explicit and concrete dialogue between the two dimensions.
In anti-crash_jpg I worked in the same way at the process level but excluding the fusion with the AI visual data. I felt the need to experience the "artist-AI" relationship at a level of testimony without the use of artificial assistance, pushing my work towards the threshold of AI emulation during the process of making the pieces.
I have voluntarily maintained a technical/practical detachment with AI to leave my photographic work intact in its intimate origins to leave it extremely vulnerable to new trends, exposing it to the impossibility of not risking its crash.

I work with digital brushes that I have glitched into the tip software settings source code, creating brush shapes that approximate basic geometric barcodes or digital stamps.
These glitches are used to "pierce" my overlayed shots on different levels of depth in the alpha channel.
They are almost always from 3/11 shots that I take of my subject assuming different postures in the same setting. After making my transparency hole codes, I fuse the photographs down to the image that satisfies me. In a way I emulate what an AI does when it creates versions of the same image. It approaches a "human-software" performance if we want to see it that way.
The shots used for the creation of Anti-crash_jpg all come from situations of daily life experienced mainly in the interpersonal and sentimental relationship with my partner, my mother and my closest friends.
It is precisely this provenance that is subjected to the risk of losing its visual memory, to being subjected to the disturbance that is penetrating into it.