‘The exhibition displays three expressive itineraries: those of photographers Giovanni Chiaramonte, Luigi Ghirri and Piero Pozzi. “Towards the blue” is the title of the photographic sequence by Chiaramonte. “At the beginning of my career I travelled just enough to understand that war and peace are within us, like true and false, good and evil. Being very eager to search for my identity, I did not lose myself looking for images in far-away lands or events: many would have done it on my behalf. Every day television and newspapers reporters have broadcast images of war with the most atrocious scenes of violence, which I powerlessly watched sitting in my armchair… In the meantime though, I travelled inside the world of my perceptions, trying to understand the link between the images that I saw and the corresponding thoughts which were shaking my soul. I found myself in front of some doors, one narrow, others wider: by opening them I discovered the different and contrasting levels of existence which, without confusion but also without distinction, form the temporal dimension of the life of man. The dimension of eternal life, for us nowadays within time, is probably like the invisible and transparent light which surrounds and illuminates everything, but which we can only contemplate in the divided colours of the iris”.Luigi Ghirri presents “Topographie-Iconographie”: “The daily encounter with reality, with pretence, with ambiguous, poetical or alienating aspects, seems to negate any possible way out from the labyrinth, whose walls are more and more illusionary, so much so that we could mingle with them. What makes my work meaningful is the attempt to verify how it is still possible to desire and face the road of knowledge, in order to be able to finally distinguish the precise identity of man, of things, of life, from the image of man, things and life”. Finally, “Reflexes” by Piero Pozzi. ” The decision to work on the reflections from water is linked to various reasons. On one hand, it is the continuation of the research on language, as translation and interpretation of reality; on the other hand, because the entire sequence allowed me to capture the evolution of the world-environment in its entirety (almost at a narrative level), through the reading of the signs which man leaves along his path. That is why we start from natural scenery and we gradually arrive at the presence of man, marked by the creation of a wall, then by houses and finally by the introduction of electricity (see the post), of cars, and of all the signs which characterise modern civilisation. This enables a reading of the structures which men created in time and which now determine our ways of living. One final annotation on the choice of water as origin of the reflections: for man, water is still an element with an ambiguous presence, such as the dimension of present time. But the terrain on which man must move and measure himself, is precisely this continuous change, the realisation of being inside this flux “.’