What is the most intimate thing that we have? What is it that hides and protects from the outside world our interiority, our thoughts, feelings, desires, impulses, but at the same time can be a vehicle for their externalization? Our body. It is the image with which we appear in the world. It is often a generator of obsession, whether positive or negative, and the object of our direct observation, but for some parts — for purely physical reasons — indirect observation. The latter we can only look at through other tools such as mirrors or photographs. What is the most mirror-like instrument for producing images? The scanner meets this need perfectly. The glass of the scanning surface allows us to look at our image at the same time as it is digitized and recorded photographically. This project is divided into three parts. The first, dedicated to the face, is accompanied by Ovid’s verses recounting the myth of Narcissus, who lost himself and died finding himself staring at his own image in a mirror of water. The second is devoted to the rest of the body, ‘dissected’ and scanned in every part. The images are interspersed with pages tracing — as if to ‘extract’ and put them on display — the marks on the skin: tattoos are a means of reproducing on ourselves our interiority, our tastes, our memories. The third part is an attempt to reconstruct the entire body through the union of the various scans of each piece. Su di me (On me) thus turns out to be an attempt to analyze my inner self through my outer image. It is a work of observation of my image. It is an attempt to use my body as a tool for self-analysis, but also for artistic production. It is an effort of acceptance and reevaluation.

The use of Sixties paper (created by Reflex for Irma Boom) for the typographic and illustrated parts allowed for an effect of overlapping and transparency so that the concept of the subtitle Sopra e sotto pelle (On and under the skin) was also physically and materially conveyed.