The space merges completely with the chromatic and conceptual essence of the shots: one feels as if navigating a bicolour labyrinth, an emotional chessboard, where black and white tones are nothing but physical translations of thematic dualities, an eternal game of ambivalence. The role of light and chiaroscuro has always been decisive in the artist’s aesthetic touch, but in this path it becomes the primary key to understanding the work. The bodies are depicted in their pure exaltation, immersed in magnetic aesthetic admiration, yet stained by a more visceral reality. These bodies belong to some of the most significant figures in the cultural scene: individuals who have left their mark and fascinated with their gaze and their imaginary, symbols of a precise identity and bearers of a sacred aura. Each of them, however, is stripped bare: exalted in the exteriorisation of a rough interiority.

They are souls who have seen, lived, and consumed an existence; and within their purity emerges the sensual beam of the profane.
It is the admiration of a tainted beauty: tired eyes, hollowed features, suspended yet profound stares. The nude is not only aesthetic but interior, and the gut-wrenching sensuality stains that angelic purity, delivering a provocative sweetness. The portrait of top model and icon Mariacarla Boscono stands as a warrior identity of purity and provocation; together with the shots of Marina Abramović, Yves Tumor, and Lewis G. Burton for Matières Fécales, it constructs a theatrical discourse and narrative. Hemingway begins from individual experiences to tell a global existence: an unstoppable inquiry, an irrepressible drive toward a spiritual damnation.