Ma Photography: final thoughts



This two-year MA Photography at Falmouth university has been an intense experience made of ups and downs, moments of deep discomfort and small satisfactions. Right now I am about to submit my last assignment and I realized that, if the response to my work will be positive, this adventure came to an end.

It has been very difficult to me to create documents like the Final Major Project and the Critical Review of Practice: I am not a self-confident person and I always question myself even if I always do my best to meet the requirements and to meet Falmouth’s standards and assignments’ Learning Outcomes.

This was my first experience in the UK Academic environment and, looking back at my first articles on my Critical Research Journal, I had the chance to notice how much I learnt and my improvements, but self-doubt is a habit difficult to “dismantle”.

I had the chance to meet amazing artists, Professors and Tutors, and it is quite clear to me that I will take something of them with me in everything I will create in the future since they “moulded” the way I now express my vision and transformed the way in which I read, interpret and use photography, also allowing me to understand how fascinated I am by the moving image and giving me a new direction to follow.

I don’t know if, and how much, my work will be appreciated during the assessment, but I have the awareness that I created something important to me, to my sitters and potentially to my audience.

Confronting exhibitions


At the beginning of my MA at Falmouth, I had minor experience in exhibiting my work and most of my past exhibitions were at a local level, in my hometown, mostly. I honestly did not know how to proceed, this is why I asked for advices to Professor McMurdo who suggested me to find a way to accompany my website’s “online gallery” with a physical exhibition that could embrace the diversity of my practice.

I started discussing with my peers about their plans and, since Maryann Morris was looking for someone to share a space with and that our works could be interconnected due to their complementing subject matters, I decided to exhibit with her.

We started searching for exhibiting opportunities close to our respective towns and in London, creating a contact list that we split in order to maximise the effectiveness of our self-promoting work. Among others, I wrote to the Fondamenta Gallery in Rome and to The Oxford House Gallery, Bosse & Baum and Bold Tendencies in London, but due to prohibitive costs, unavailable spaces or logistics problems, we found difficult to find a place that could meet both needs, this is why Maryann decided to provide the location herself at her studio. At the same time, I did not want to miss the possibility to exhibit into a classic Art Gallery and this is why, while honouring my commitment with my peer, I decided to look for further opportunities, too.

Since that moment, I had the chance to launch my project into the public domain in four different contexts of consumption, engaging a wide and diverse audience and organising my work in different ways and including different materials from my imagery: a possibility that a single location could not provide to me. It has been an investment in terms of money and time, but it has also been absolutely worthy.


“Art in Mind” at The Brick Lane Gallery Annexe

93-95 Sclater Street | London | E1 6HR | UK.

May 22 – June 3, 2018.


The Brick Lane Gallery, Poster for May-June 2018 edition of Art in Mind group exhibition. ©The Brick Lane Gallery, 2018.

Having place into a classic “white-walls” Gallery based nearby central London, this exhibition gave me the opportunity to present my work not only to general public, but also to professionals in the world of Contemporary Art and to be featured by Contemporary Art Curator Magazine. Since renting the whole space would have been too pricey, I contacted the Gallery and I successfully applied for “Art in Mind” group exhibition, having the chance to share the space with other artists from all over the world. In this circumstance, I only had the chance to present still images from my work: this is why I opted for isolated long-exposure photographs of screams selected from my “Sequences” or “Contact sheets”, since I sensed that it was the solution that could maximise the visual and emotional impact. Being a group-exhibition, the attention on my work was clearly diluted, but being the only photographer exhibiting and the minimal set up I opted for, in contrast with the surrounding ones, definitely helped in improving the final impression. The Gallery Manager kindly agreed to make me participate to, and supervise, the set up of my area and the collaboration with her assistants has been a great opportunity not only to have an active role in this phase, but also to understand how the work of a Gallery, prior to an art event, is usually managed.

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Dayana Marconi, I can hear you now at Art in Mind, May 22nd 2018, documenting-images of the set up phase. Slideshow. ©Dayana Marconi, 2018.

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Dayana Marconi, I can hear you now at Art in Mind, May 23rd 2018, documenting-images of the opening night. Slideshow. ©Dayana Marconi, 2018.

Like for the all the first three exhibitions I participated to, I invited Professors, Tutors, Lynn Chambers from MAYN Creative and, in this specific case, following the Professor McMurdo’s suggestion, also Christiane Monarchi, Founder and Editor of Photomonitor. Unfortunately, she could not participate to the show, but she kindly included the event into the “Listing” section of her Magazine and, during our brief exchange of e-mails, she also provided me with a supportive feedback on my practice and its dedicated website.


“I can hear you now” solo exhibition at FuoriLuogo Art and Culture Residence

Via Govone 15 | Asti | 14100 AT | Italy.

June 8-16, 2018.


FuoriLuogo Art and Culture Residence, Poster for 8-16 June 2018 “I can hear you now” photographic exhibition exhibition. ©FuoriLuogo Art and Culture Residence, 2018.

This has definitely been the most laborious but engaging experience among my four degree shows because while it gave me the opportunity to exhibit the project in my hometown, to present both my stills and video production and to have a whole two-floor building available to be set up accordingly to my need to create an itinerary that could be followed by the audience transforming an exhibition into a sort of “art-experience”, inspired by the work done by David Fathi in the creation of his “The last road of the immortal woman” installation at Les Rencontres d’Arles.

David Fathi, The last road of the immortal woman, Installation view – Les Rencontres d’Arles, 2017, Arles, France. ©David Fathi, 2017. Slideshow.

This degree show also gave me the chance to publicly speak about my Anxiety Disorder with my audience, something I had never discussed even with most of my friends before the event, afraid of being misjudged.

The exhibition started on June 8 at 9.30pm with the projection of the short documentary “[ɪˈmaː.ɡoː]” and, subsequently, viewers have been invited to follow the designed path and to have an active role in my project thanks to some activities designed to engage their participation. Even if a couple of people from the audience acted in a disturbing way, as explained into one of my previous articles, the overall response has been absolutely positive and the “Table of activities” I created has been particularly appreciated both by participants and organisers, who invited me to exhibit with them again.

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Dayana Marconi, I can hear you now at FuoriLuogo Art and Culture Residence, documenting-images of the opening night. Slideshow. ©Dayana Marconi, 2018.

While most of the audience was observing my work at the first floor, I silently entered the room with one of my sitters and, in a corner, I started to portray her like I usually do for the creation of my “Sequences”. The room immediately became so silent that her scream resounded into the whole building. It is very unfortunate that my back-up camera stopped working while filming the performance not giving me the chance to share a video of the experience and viewers’ reaction but, luckily, my companion still had the possibility to take some photos of that moment.


“I AM HERE. HERE I AM” Art-event in collaboration with Maryann Morris

The Studio | Wishingwell Farm | Marks Tey | Essex | CO6 1EZ | UK.

July 7, 2018.

While, initially, the exhibition was conceived  to be a joint exhibition of two photographers only, Maryann opened it to her companion and other two artists and I must admit I am definitely glad she did it because it has been a very interesting experience to collaborate with individuals with different artistic visions and backgrounds as an art-collective. Since Maryann needed a large-format poster introducing her practice in order to cover the window separating the two areas in which we were exhibiting, she printed two further ones to be used into my area and Will’s, giving viewers a visual sense of continuity while passing from an area to another. I placed mine at the beginning of the passage in which I hung my prints. The audience, in this way, had the chance to receive some information about my work before “facing” it. Subsequently, they could observe the same “isolated screams” exhibited at the Brick Lane Gallery and small photographic prints of my “Twelve episodes” placed on the opposite wall in a set up aiming to recall Elina Brotherus’ “Comma 27” exhibition at the Bloomberg Space. This created a sort of visual tour taking to the room in which my short documentary and videos were projected in loop and, then, to the room dedicated to Maryann’s work. The final result was definitely interesting, since our two project resulted perfectly interconnected but maintaining their individuality at the same time and, into the other section of the building, Will’s images were connected to Ed and Nathan’s music production and performances.

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Dayana Marconi, I can hear you now at I AM HERE. HERE I AM, documenting-images of the event-night. Slideshow. ©Dayana Marconi, 2018.

On “I AM HERE. HERE I AM” website, designed by Maryann, there are some photographs and a video I shot during the event-night that can be seen at the following link, alongside some snapshots taken by Maryann:


Landings 2018 on


 August 17-24, 2018

Landings 2018, currently ongoing, is giving me the opportunity to focus on my short documentary “[ɪˈmaː.ɡoː]”, previously presented as element an of the exhibitions only, while maintaing a connection with Falmouth University at the same time. Being an online-based exhibition managed, as explained into the dedicated article, by Professor McLeod in collaboration with Falmouth Flexible and some of my peers, I had no role in its set up but to provide a web page and a brief introduction to this piece of work before users could watch it: this is why I opted to use the dedicated page on my website, having the chance to promote its contents at the same time.

Since I participated to Landings 2017 edition as well, I sensed this was the best way to close a circle, making my first exhibition at Falmouth University and the last one almost “colliding”, recreating also that idea of “loop” present into the documentary exhibited at this stage.



Bloomberg SPACE/Artmap, Comma 27:Elina Brotherus, September 2010 issue

Brick Lane Gallery, Art in Mind 22nd May – 4th June 2018, article included into the “Past exhibitions” area of the Gallery’s website

Fathi David, The Last Road of the Immortal Woman, 2017, art installation at Les Rencontres d’Arles, France. Information on David Fathi’s official website, dedicated area

Fuoriluogo Art and Culture Residence, I Can Hear You Now – Dayana Marconi, presentation included into Events’ calendar of the Residence, June 2018 issue

Landings 2018, official website

Marconi Dayana, I can hear you now, official website

Marconi Dayana/Morris Maryann, I am here. Here I am, official website of the art event

Publications: Graduate Photography Online 2018 on Source Magazine


With some of my peers of the first cohort of the MA Photography at Falmouth Flexible, we decided to apply to Source Magazine’s “Graduate Photography Online 2018”. Since we had to participate as a group and we had to designate a “leader” that would have followed the whole procedure, we decided to discuss this chance and to divide the submission process in three phases:

  1. Collecting names of the students willing to participate;
  2. Create a poll to define two group leaders who would have managed the whole submission process;
  3. Money, statement and images’ collection in accordance with Source’s requirements.

The two peers voted to act as leaders were Jo Sutherst and Philip Singleton who, subsequently, proceeded in the collection of the materials and in the submission-process.

As participants, we have been required to submit:

  • A maximum of eight images saved as jpegs, 72 DPI and 800 pixels along their longest edge. Moving images could not be accepted, so I had no chance to submit my short documentary or any video material;
  • A 120 word statement about our work;
  • A personal e-mail address that will remain online also after the graduation;
  • A website address;
  • A payment of 33£/each, including also a one-year subscription to the Magazine.

The submission gave us the chance to obtain an individual page on Source Magazine comprising eight of our images, including photographs documenting our degree shows, and a brief project’s introduction.

My project, categorised as “Portraiture”, is available at the following link:

Each of our pages will remain on Source Magazine website permanently and, like during previous editions, a panel of professional from the photography industry will select some projects from all the submitted ones. The Selectors’ choices will be, then, published in a printed 10-page supplement that will be distributed with the magazine. For the MA/MFA courses, this year the selectors are: Alicia Hart, Photo Editor at AMVBBDO; Maxwell Anderson, Founder of Bemojake Books and Alona Pardo, Curator at the Barbican Gallery.

Since my current practice has been released in the public domain through exhibitions, I decided to include, alongside six images I found representative of my whole body of work, two photographs from the events at The Brick Lane Gallery Annexe in London and at FuoriLuogo Art and Culture Residence in Asti, Italy.

Since my aim was to promote “I can hear you now” rather than my personal portfolio, I decided to include the url to the project’s website during the submission process: in any case, its “About” page contains also information related to my bio and personal website.

I found this a great opportunity given to us MA Photography students at Falmouth that I definitely could not miss, and I cannot wait to see what the future will reserve to my work.



Brick Lane Gallery, Art in Mind 22nd May – 4th June 2018, article included into the “Past exhibitions” area of the Gallery’s website

Fuoriluogo Art and Culture Residence, I Can Hear You Now – Dayana Marconi, presentation included into Events’ calendar of the Residence, June 2018 issue

Marconi Dayana, I can hear you now, official website

Singleton Philip, official website

Source Magazine, Graduate Photography Online 2018, available on Source Magazine website [accessed: Aug 17, 2018]

Source Magazine, Dayana Sharon Marconi, page dedicated to “I can hear you now” project available on the Graduate Photography Online 2018 section on Source Magazine website [accessed: Aug 17, 2018]

Sutherst Jo, official website

“[ɪˈmaː.ɡoː]”, updates: further recognitions


Today I received very good news: among her compositions, the film composer Elena Maro, submitted the musics pieces created for the short documentary “[ɪˈmaː.ɡoː]” to the “Global Music Award” for the category “Documenting Stories, Documenting Lives” and they have been awarded for the categories “Soundtrack collection” and “Composition/Composer” with a Bronze Medal.


Global Music Award 2018, Elena Maro’s Bronze laurels for the categories “Soundtrack Collection” and “Composition/Composer”. ©Global Music Awards, 2018.



Dayana Marconi, “[ɪˈmaː.ɡoː]”, official Poster with laurels for: The $2 Film Festival 2018, “Semi-finalist” and Global Music Award 2018, “Soundtrack Collection” and “Composition/Composer”. ©Dayana Marconi 2018. Copyright for this poster and the related video belongs solely to Dayana Marconi. Images may not be downloaded without her permission.



Global Music Award, Current Winners, full list presented on Global Music award official website

Marconi Dayana, [ɪˈmaː.ɡoː], April/May 2018, Asti/Rome/Los Angeles, released on Dayana Marconi Vimeo page

Maro Elena, official website

The $2 Film Festival, NY, USA, official website

Exhibition 4: “I can hear you now” project at “Landings 2018”



Opening | Event duration – August 17th – 24th 2018.

The exhibition will be online at the following link:


Managed by Professor Gary McLeod and Falmouth University, with the collaboration of my peers Sarah Newton, Andrew Barrows and Anthony Prothero, “Landings 2018” will be an online exhibition running from August 17th to August 24th 2018 and it will be my fourth and last exhibition before my final assignments’ deadline.

The exhibition will be divided in three sections related to the subject matters of the projects submitted by Falmouth’s students and Professors: “Elements of abstractions”, “Expressions of consequences” and “Narrating Identity”. This last area will be the one in which my work will be presented.

After a fruitful discussion with my Professor Wendy McMurdo, I decided to take part to this project by submitting my short documentary “[ɪˈmaː.ɡoː]”, which is  the starting point of the itinerary I created for my audience in order to introduce and fully represents my project “I can hear you now” into the dedicated website. This decision is born from my desire to further promote this documentary since, during previous exhibitions, it has been presented as integral part of a body of work involving still and moving images and, in one case, it has not been possible to present it at all. Being the exhibition online-based, I found it a great opportunity to focus viewers’ attention on this short only and, moreover, since we had to submit a web page, I decided to submit the “STEP 00 – [ɪˈmaː.ɡoː] THE STARTING POINT” area of my website in order to have also the chance to promote it, since this page also provides the possibility to visit the following “Steps” and experience the whole itinerary I created in order to guide users through the different sections of my project and to give them the chance to face different contents and, possibly, empathise with the portrayed individuals and “the concepts” they represent.

The provided webpage includes a brief text to introduce the documentary in order to provide viewers with a few information related to its contents, aims and subject matter. Scrolling the page, then, they will have the chance to directly watch the video, that can be enlarged to be seen in full-screen mode.

In my opinion, “Landings 2018” is the perfect opportunity to “close a circle” of exhibitions located in different contexts of consumption and, subsequently, to engage a wider audience that, since May 2018, had the chance to observe my imagery released in different formats: into a well-established “white-walls” Gallery in London, in which I presented four large-format mounted prints of isolated screams selected from different “Confrontation sheets”, as part of a group exhibition involving different forms of visual art; as a solo exhibition in Italy, in which I had the chance to completely curate my own set up and the way in which participants would have experienced my body of work; an art event in Essex, that gave me the opportunity to collaborate with other emerging artists as an art collective and that, subsequently, enabled me to improve in the way I connect my work to the production of other artists, in this specific case to the production of my peer Maryann Morris and to the whole context at the same time.

In the creation and management of the way in which the final version of my work has been released into the public domain, I never took part to an online exhibition so far, so this is definitely something new that I want to experience and that will give me the opportunity to present my work in a different manner once more.


“Landings 2018: Narrating Identity”, official poster. ©Landings 2018.

To participate, I submitted my project on Canvas and, once accepted, I had to provide the following information to be included among other participants:

I have to admit that the most difficult task has been to find a way to describe my work in no more than fourteen words. I wanted to explain something more about the documentary, but then I realised that the necessary information would have been available into the provided web page, so I opted for a brief description of its main aim: to introduce and represent the project “I can hear you now”.

I took part to “Landings 2017” edition, too. It has been a totally different experience: in that case I used Instagram to push my followers to actively participate to my project by portraying themselves while screaming. I have been surprised by the level of participation and, since the rule was “One image per day”, I have been amazed by noticing that some people decided to be part of that “social experiment” by submitting photographs during the whole exhibition. This proved me that an online context, promoted and supported by social media, can really engage a wider audience and to capture their curiosity.

To document an online exhibition for the FMP, could be quite tricky using images: this is why I will opt to directly include the link to the dedicated website and to my specific area, alongside the provided graphic materials.



Brick Lane Gallery, Art in Mind 22nd May – 4th June 2018, article included into the “Past exhibitions” area of the Gallery’s website

Fuoriluogo Art and Culture Residence, I Can Hear You Now – Dayana Marconi, presentation included into Events’ calendar of the Residence, June 2018 issue

Landings 2018, official website of the online exhibition

Marconi Dayana, I can hear you now, official website,

Marconi Dayana, [ɪˈmaː.ɡoː], short documentary presented as part of Landings 2018 online exhibition and part of the project’s official website

Marconi Dayana, I can hear you now, a virtual tour of Spring/Summer 2018 exhibitions, online-gallery article released on “I can hear you now” official website, August 2018 issue

Marconi Dayana/Morris Maryann, I am here. Here I am, official website of the art event

“[ɪˈmaː.ɡoː]”, updates: a second recognition


Today my short documentary “[ɪˈmaː.ɡoː]” has been shortlisted as semi-finalist at “The $2 Film Festival” in New York.


The $2 Film Festival 2018, laurel for the official selection of “[ɪˈmaː.ɡoː]”  as semi-finalist for the category “Short Documentary”.


Dayana Marconi, “[ɪˈmaː.ɡoː]”, official Poster. ©Dayana Marconi 2018. Copyright for this poster and the related video belongs solely to Dayana Marconi. Images may not be downloaded without her permission.



Marconi Dayana, [ɪˈmaː.ɡoː], April/May 2018, Asti/Rome/Los Angeles, released on Dayana Marconi Vimeo page

The $2 Film Festival, NY, USA, official website

“[ɪˈmaː.ɡoː]”: a deeper analysis and a first recognition


As stated into my project’s website and previously introduced into my previous articles related to this piece of work, “‘[ɪˈmaː.ɡoː]’ or “Imāgō” is a Latin world with multiple meanings, like image, imitation, representation, ghost, echo, thought, dream, ancestral image and depiction. This short documentary has an important role in my project “I can hear you now”: it is a starting point and a conclusion at the same time, its aim is  to “close a circle”. With an experimental approach, I wanted to generate a dreamlike journey into my mind and my soul, depicting how I perceive, or misperceive, myself, how I see my past and the world. It is a symbolic representation of the process of reliving a trauma, my childhood, my memories, but, at the same time, I tried to symbolically show the sense of liberation from a burden to leave space to a better and unknown future. Suffering is a shared condition and this is represented by a sort of doppelgänger, another woman symbolically sharing some of my experiences, even if in a slightly different way. The visual narration accompanies the interviews released by the Film Composer Elena Maro and the Phychologist and Neuropsychologist Dr Martina Gerbi.” (Marconi, 2018).

Dayana Marconi, “[ɪˈmaː.ɡoː]”, Asti/Rome/Los Angeles, April/May 2018. ©Dayana Marconi 2018. Copyright for this video belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

Even if I agree with the great Film Director David Lynch when he says “As soon as you put things in words, no one ever sees the film the same way, and that’s what I hate, you know. Talking—it’s real dangerous.” (Lynch in Lim, 2015), because viewers, thanks to their innate sense of intuition, understand far more than what they are aware of; I realised that presenting my work into an Academic environment I must explain more in details the visual and conceptual decisions made during the creative process.


Dayana Marconi, “[ɪˈmaː.ɡoː]”, official Poster. ©Dayana Marconi 2018. Copyright for this poster and the related video belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

The title itself, “[ɪˈmaː.ɡoː]”, wants to be a clear statement of what viewers will face while watching the short documentary: it is not a simple presentation of my project; its aim is to represent, in an experimental and symbolic way, my inner world and a shared situation. It is a combination of different elements: narration, interviews and visual experiments. Each element is connected and follows a precise order.

It starts with a framing of a music box: since the very beginning we can observe a sort of loop, a repetition generated by a taxi cab rotating around the Empire State Building and reinforced by the music score created by the Award Winning Music Composer Elena Maro. What matters here is not the object, but the action itself: Mental Health Disorders, negative emotions, painful memories are something that never disappear completely in someone’s life, their remnants define who we are and often, when we think we “beated our monsters” they can suddenly reappear, since our personalities are forged by our life-experiences. It becomes a sort of never-ending journey. In my specific case, due to Anxiety Disorder, I go through this situation with panic attacks and traumatic recollections: a smell, a word, a sound, even the tiniest thing can cause me a strong inner reaction, often manifested as an “episode”. Like any other individual, I face and fight my problems, but life constantly put us to the test and when we overcome an issue we most likely have to face something else and the loop starts over and over again and this is the reason why the music box works as connection to between the different sections of the short. Of course, I cannot say that this situation affects only those individuals suffering from Mental Health Disorders, it is something that, at different levels, we all experiment: this is why it also works as a vehicle to connect my “doppelgänger” and me. Maybe I could have used a more clear element to present this situation, but in the creation of this documentary I wanted to avoid being too authoritative: I wanted viewers to face its contents on an emotional level and be free to interpret each element of my work according to their personal experience and personality.

Narration and visual narration: images and interviews are spaced out by my personal narrative, intended to explain what is “I can hear you now”, what are its aims and its subject matter. These sections are more descriptive and want to support the audience in facing my whole body of work. During the first part of my speech, we can observe an actual panic attack occurring in front of the camera: at the beginning my intention was to find a way to represent how I feel in those moments but, unfortunately, these episodes are not something I can control or avoid so, with the videomaker Alessio Mattia, we decided to film that situation and introduce “the actual” into the “representation”.

The act of screaming: this is a focal point of my research by images, so I decided to insert a brief sequence in which I was repeatedly screaming in front of a mirror; this because with my project I want to reflect my inner malaise but, at the same time, I want my images to mirror the audience and invite individuals to empathise with “the other” and face, at the same time, a need that probably, at least once in their lives, experienced by themselves. I decided to cover the sound of those screams with the score because my intention was not to be overdramatic, but simply to depict an action so representative in my practice.

Face-manipulation: this element is maybe the most “literal” one. It has been placed, during the editing phase, while the voiceover was explaining that “I must remain publicly impassive” (Marconi, 2018), this is why I decided to force my face in a smile but, at the same time, this is when my “doppelgänger” makes her first appearance to demonstrate that even when I put a smile on my face, there is often  a lot more behind it.

The mentioned “doppelgänger” has a double function: the first one is to represent what I hide inside me, the second one is to represent other individuals living similar situations, even if slightly different or for other reasons. This is why it appears, at first, as part of me and we “split” during the short to subsequently blend again. This is another way to symbolically represent the loop, but in this case its meaning is different: the whole project starts from a personal perspective (my unexpressed inner malaise due to social norms) and ends with me (with the creation of the series “Twelve episodes” in which I portray myself after twelve different panic attacks).

First interview: this has been released by the Psychologist and Neuropsychologist Dr Martina Gerbi. “Dr Gerbi spent some words to explain the relationship between Psychology and Photography, the origins of Art-therapy and the potential of my project and its relation with Mental Health support and investigation.” (Marconi, 2018). Since she provided a psychological interpretation of the benefits that could be generated by “I can hear you now”, I accompanied her speech with images of one of my last shootings, to make viewers understand what is the emotional path my sitters undertake in front of my camera. This last section, then, is further explained by my voiceover.

Flashing-lights and voices’ scene: this is the first one of the “visual experiments” taking place during the short and this is when my “doppelgänger” and I split. The voices are extracted by the video “I can hear you now: four ‘characters’ empathising with the Author”, in which four individuals, forced to stay together into the same theatre-proscenium are unable to communicate among them speaking four different Languages but, at the same time, with their monologue they all communicate with me since they all speak about my personal story. The flashes want to represent those mentioned traumatic memories that suddenly comes and go, while the voices explain portions of them. Sometimes those memories are so strong that still today I must force myself to keep distance to what I feel, often looking detached or absent. The woman appearing, physically opposite to me, perfectly represent that situation: when I suffer, I often become sarcastic or “over-humorous” because I feel the urge to hide what I feel to others and, in most cases, I want to hide the same to myself. She is my antipodal: while I become more and more absent, looking at those flashes and listening to those voices she appears, becoming stronger and stronger, while she vanishes as soon as I slowly try to take the control of the situation again. Our figures are both blurred, out of focus, to represent that sense of detachment.

This part is the one I define my “Club Silencio scene”, In this David Lynch’s “Mulholland Drive” scene, a magician states “No hay banda! There is no band. Il n’est pas de orquestra! This is all a tape-recording. No hay banda! And yet, we hear a band. If we want to hear a clarinette, listen. … It’s all a tape. It is an illusion.” (Lynch, 2001), and yet, even if sounds and music are pure illusion, the emotions generated into the audience (into the theatre but also in who is watching the movie) are very strong. The two protagonists, two different women like in my case, experience the same strong feelings while listening to the voice of the singer and observe her dramatic performance, even if that is just a recording (like in my case, again). Like Jeff Saporito wrote in his “In ‘Mulholland Drive’ what happened at Club Silencio?”, “Diane’s brain is in shambles, eager to believe that the truths of her existence are not what they are, replacing bits and pieces with a more comfortable narrative. The club reveals to her that self-delusion only works for a while; illusion is temporary, and when the magic ends, the show is over. Such is the case for Diane, as Club Silencio brings her back to a reality she can’t cope with.” (Saporito, 2015).

David Lynch, Mulholland Drive, Club Silencio scene, 2001, Les Films Alain Sarde, Asymmetrical Productions, StudioCanal, The Picture Factory, USA/France. ©David Lynch/Lynchnet, 2001.

We filmed the scene on the stage of a deconsecrated church transformed into “Diavolo Rosso” Culture and Art Organisation (and club) and, inspired by the location and by the “Club Silencio” scene, I decided to use red and blue as main colours and those fragments of recorded voices in different Languages.

Second interview: this second contribution has been released by the Music Composer Elena Maro, who “explained how she collaborated with me and her multiple roles during the whole creation of my project, also showing how my images, a visual representation of the pain of others, can be “translated” in sounds.” (Marconi, 2018). Her interview is introduced by a brief sequence extracted from Logic Pro, the program she uses to compose: this to actually show how my images has been transformed in sounds. At the end of her speech, she also provided examples of how she created the score for my project by playing her piano. Since she is located in Los Angeles, we decided she had to film her own interview and be remotely directed by me: I provided her with visual examples of how I wanted her to be framed and I explained what I exactly needed and the scenes has been then completely edited by Alessio Mattia under my supervision.

Doppelgänger takeover: since with this sections I wanted to show that is possible to force viewers to deal with what they observe and generate empathy, I decided to dedicate one entire scene to the woman representing “the other”, viewers and my hidden-self at the same time. In this case, she was the protagonist of the scene, conceptually connected with me by the music box. As stated several times, suffering is a shared condition, but we all suffer in different ways: this is why this scene has been edited in a very different way compared to the previous ones, to enhance the idea of individuality and self-definition. During the shooting and the editing phased, I directed and supervised the scene to recall the photographic body of work created by Francesca Woodman. The black and white is delicate and the scene is intimate but it represents a sense of solitude at the same time.


Francesca  Woodman, Space2, Selection of images, Providence, Rhode Island, 1975-1978 . ©Betty and George Woodman.

Glitch-scene: this section has been inspired by Michael Betancourt’s “Dancing Glitch”, in which the author employed “a variation on the idea of “feedback” where the output of one stage becomes material to be glitched, manipulated and then mixed back into the original raw material” (Betancourt on Otherzine, 2013). I find this video fascinating because it defies and involves, at the same time, emotionally, conceptually and intellectually the audience, asking them to re-evaluate their idea of error. This section is when I am reunited with “the other me”: while trying to relive my lost childhood through a childlike game which became an impossible task due to the medical consequences of my past physical disability, she is still able to recreate that condition, establishing a definitive separation of the “two parts”. It starts with a severe “glitch” accompanied by a loud white noise and images become more and more clear as soon as viewers are asked to look better, to listen and to remember: this to enhance an emotional connection between the observer and the observed. Movements are in slow-motion also presenting some gaps and only at some point their rhythm becomes almost normal. Multiple-exposure wants to create a surreal sensation and music and sounds want to recreate the idea of happy memories and sadness at the same time, this is why babies’ laughs are mixed with a nostalgic music. At the end of this section my “split personality” disappears and I remain alone, confused and exhausted by the physical effort, going closer and closer to the camera, until I am so close that I make everything else disappear.

After the documentary was completed and released online, re-observing this scene I had a strange feeling: it became more and more familiar, like it remembered me of something I could not catch. After a couple of weeks I had a sudden intuition and searching online everything became clear: the influence that David Lynch had on me both on a personal and on an artistic level was so big that I recreated some elements of Twin Peaks Series 1 “picnic scene”.

David Lynch, Twin Peaks, Series 1, Episode 1, Traces to Nowhere, Picnic scene, 1990, USA. ©David Lynch/Mark Frost, 1990.

Of course, this was not made by purpose and yet some coincidences were so evident that I could not deny them. The two scenes are obviously completely different in their quality, contents, editing and meanings, but still the affinity remains, somehow, clear in my opinion.

Self-observation: in this brief section of the video I decided to transform the re-photography technique, analysed during Module 4 with Professor Gary McLeod, into a process of re-observation, this to demonstrate, once more, that the main aim of my project is to push viewers to analyse themselves while observing my still and moving images. Since the very beginning of my practice I opted for an inclusive approach, avoiding to act as a voyeur “regarding the pain of others” (Sontag, 2003). I must admit that at the beginning while watching myself on a screen I was simply curious, but then I started “feeling” what those images meant to me and it has become a bit painful.

Twelve episodes: in this part I presented this photographic series from “I can hear you now” explaining its aims and how I created it. I did not show the final images that have been included into the project’s website at the end of the Itinerary, but the first attempts. Like for the process of selection of the images to be included into a portfolio, I moved those prints on a white table to find the best combination possible. I filmed this section myself with the video camera mounted on a tripod.

Final Scene: since, as previously written, this short was intended as a dreamlike journey into my head and soul, into this final section I was looking completely different, like I became my double itself. Everything previously showed was not real but it was at the same time: it was the inside Vs the outside, the past Vs the present, the Imāgō Vs the actual and yet boundaries do not want to be so defined, because everything that has been represented was an echo and the reality at the same time. Recalling my “Emotional Score experiment #2” video, I had to free myself from a burden and so I started cutting my hair until I had the chance to feel relieved and rest. At the same time, this can be seen as a “cut” from my past-self or a moment of self-abandonment. I wanted to leave the interpretation to viewers since I wanted them to experience this scene, like the whole documentary, at an emotional level, using their own experiences and personalities. Someone will see this as an “happy ending”, someone else will give a more gloomy interpretation to this moment. Somehow, I wanted to represent a sense of relief with my figure vanishing into white and black trees-branches and again this relief can be seen as the moment in which I symbolically passed away due to those traumatic memories also recalled by those recalled child laughs.

And then the music box starts again…



The $2 Film Festival 2018, laurel for the official selection of “[ɪˈmaː.ɡoː]” for the category “Short Documentary”.

“[ɪˈmaː.ɡoː]” has been officially selected by “The $2 Film Festival 2018” for the category “Short Documentary”.



Betancourt Michael, Dancing Glithc, 2013, USA, video released on Batancourt’s official Vimeo account “Cinegraphic”

Betancourt Michael, The Process of Eupraxis in Making Dancing Glitch, on Otherzine, issue #32, Spring 2013

Diavolo Rosso, non-profit Culture and Art Organisation, Asti, Italy, official website

Lim Dennis, David Lynch’s Elusive Language, on The New Yorker, October 2015 issue

Lynch David, Mulholland Drive, 2001, produced by Les Films Alain Sarde, Asymmetrical Productions, StudioCanal, The Picture Factory, USA/France.

Lynch David, Mulholland Drive, Club Silencio scene, 2001, produced by Les Films Alain Sarde, Asymmetrical Productions, StudioCanal, The Picture Factory, USA/France. Video released on YouTube in 2015 for educational purposes

Lynch David/Frost Mark, Traces to Nowhere, Season 1, Episode 1, Picnic Scene, 1990, Lynch/Frost Productions, USA. Video released on YouTube in 2017

Marconi Dayana, I can hear you now – four ‘characters’ empathising with the Author, April 2017, released on Dayana Marconi Vimeo page

Marconi Dayana, I can hear you now – Emotional Score Experiment #2, December 2017, released on Dayana Marconi Vimeo page

Marconi Dayana, [ɪˈmaː.ɡoː], April/May 2018, Asti/Rome/Los Angeles, released on Dayana Marconi Vimeo page

Maro Elena, Award winning composer for film, television and media, official website

Saporito Jeff, In ‘Mulholland Drive’ what happened at Club Silencio?, article released on Screenprism, October 2015 issue

Sontag Susan, Regarding the Pain of Others, 2003, Farrar, Straus and Giroux, New York, USA.

The $2 Film Festival, NY, USA, official website

Woodman Francesca,  Space², 1975-1978, Providence, Rhode Island