In the period 2022–2025, I developed the project in-situ photo-graphics, which explores printmaking and photography as spatial and temporal practices through site-specific work with materials from natural, cultural, and industrial landscapes without intervening in the environment. The research focuses on the development of manual printmaking techniques and photo-transfers on stone, wood, and architectural surfaces, as well as on understanding materials as carriers of time and space. The project establishes a model of printmaking as a spatial and temporal practice.

A Tree Story

The reference images encompass an exploration of the tree through drawing, installation, video installation, and printmaking (2012–2025). They trace a long-term artistic inquiry in which the tree functions as a conceptual axis for examining time, embodied perception, and the human condition. A recurring X-form operates as a structural and visual principle, establishing a relation between the tree, the hourglass, and the human body. Across different media, the works approach the tree not only as a natural entity, but as a site of memory and transformation, rooted in specific environmental contexts and reflecting on the relationship between nature and human presence.

Walking: Histories in Ice and In-Situ Cyanotype

Earth – Cracks – Full / Empty: In-Situ Frottage, Sečovlje Salt Pans

Museum of Salt-Making, Salt Pans: Frottage of Working Tools and a Hybrid Print-Photographic Process

Hand Impressions of Dust on Broken Glass – MAAM Metropoliz, Rome (abandoned section of the museum)

Hand-Coloured Impressions of Broken Glass – MAAM Metropoliz, Rome (abandoned section of the museum)

Experimental Manual Photo Transfer of a Digital Image onto Paper – MAAM Metropoliz, Rome

Earth – Cracks – Full / Empty: In-Situ Frottage