In SARA. Corpo e Mondo Dario Salamone carries out an operation through which he interrogates western female iconography. Through a collection of photographic representations, the author, complicit with his model, experiments with signs and forms with which to re-discuss first the experience of the body itself, and then the formal codes with which it narrates itself, is seen, and narrates the world through itself.

By proposing a moment of formal reflection in which to find the forms and expressions to renew one’s own impression and expression on a theme so touched by the history of art as to become almost untouchable, Dario Salamone carries out an operation not lacking in grace, which sees him reasoning through the photographic medium the formal parameters of a metric expression in which, through the story of the female body and form, he narrates the “around”.

Rediscovering an aesthetic expression with steatopygic affects, Salamone’s images take us to a tale of the female body whose echoes are lost in the mists of time. A mythological era in which the sacred feminine was the founding experiential element of a vital religion, whose expressions found a cosmological motif in the representation of the abundance of the female body.

Sara’s body, photographed by Davide Salamone, is another body, little seen and little represented, an amused body, a body that moves away from narrative and aesthetic conventions to find in itself, in its experience and expression, in its vision, other parameters of representation.

Set on the beaches of Comacchio, a place that in addition to being linked to Sara brings back the echo of a beauty that was idealised in Michelangelo Antonioni’s films, Salamone’s work attempts to reorganise the gaze around the feminine, finding for it different attentions; the possibility, perhaps, of another territory.