In an attempt to create representations of reality without spatial-temporal constraints, my visual research often begins with simple elements that are subjected to various processes, both physical and digital. Through these levels of transformation of the photographed subject, I try to dig deep while considering what is really hiding behind the surfaces that surround me, whether they are human or not. The work Lacerazioni, developed during the first lockdown in 2020, is composed of a series of representations that, through the excision performed manually on each photograph, attempts to investigate the relationship between an external agent, light in this case, and the support on which the image is present. The physical processing of the images, first the printing of the photographs and then the cutting through which natural sunlight enters and permeates the subjects depicted, allows for a new vision of reality, almost a negation of it. The result of this cutting operation gives space for a new possibility of mutation: two elements that were not previously in contact are brought together, creating a new harmony. It is thus the negation of a part of the pre-existing object that allows the old representation to present itself in a new form, which is at the same time both the initial representation and its own negation. The vitality denied to the cut image allows a new harmony and randomness to be established, reflecting the biological behaviour of the world.