Alessandro Bavari introduced me to Donato, or rather Donny, one day in Turin in a bar near the Dora river. We were in this city for the shooting of another artist, Luca Pannoli, and we had a free day.

A person of genius, he was what I thought from the very first moment, eclectic and very similar to me in some aspects of his character. He told me about his work as a video maker but not only.

An obsessive producer of imaginative ideas that he transforms into drawings almost in real time, into videos, into Art. He arrived late for our appointment, he was undecided whether to change a jacket or not, but once I met him, I understood why.

While we were walking along the river, both Donny and me, came up with an idea at the same time: to take a portrait inside an old industrial building that overlooked the bank and was undergoing renovation. I leave Donny free to interact with the surrounding space made of old planks, cement bags, pipes, bricks and high ceilings typical of those industrial settlements that developed during the mid-nineteenth century and then closed definitively in the 80s, leaving the area in a derelict state.

I started the shooting in full complicity with Donny and with a lot of lightness and fun. With the knowledge that I had more photos that worked than I thought I would, we left that place. Two elderly women, seeing us with the camera and with Donny photographing the details of the large door with his cell phone, curious entered the former factory with a slow and skeptical step. We didn't see them go out.

Even today, smiling, we like to think that they have entered another space-time dimension unknown to us.

Fantasy, play but also fear unites us.

Print Size: cm 66,5 x 43 - inches 26,2 x 17


Sara Aliscioni



Sara has been dedicating herself to photography and photographic calligraphy since 2006. She matured the artistic matrix from her father, musician and composer, who led her to explore not only the world of theater, to which she dedicated herself for several years both as an interpreter as a stage photographer, but also of music, studying classical music theory and playing bass for several years, as well as cinema, influenced by the Centro Sperimentale di Cinematografia where her father worked as a sound engineer.

In addition to the various courses on photographic techniques and workshops dedicated to travel reportage, he attended the training promoted by the MoMA on photography as a means of individual artistic expression, as a technique for exploring and documenting the reality as well as a tool for communication and criticism of society and our culture. Subsequently, driven by an interest in history that draws on photojournalism as a primary source, she followed the course on the use of images, films and their historical interpretation in the 20th century with the University of London & Royal Holloway.

Among the activities followed, Sara has curated various photographic backstage works, the last of these at the Macro Museum in Rome. After having increased her knowledge, she has also matured her style thanks to the continuous and daily training of the artist Alessandro Bavari.

United by photography as an expression of art, as well as by their personal bond, together they created the book Kill the Covid! a rural horror photographic mockumentary set in Italy, faithful to their artistic, visionary and provocative style.


The photographic choice oriented towards Reportage and Street Photography, features strictly black and white calligraphy. Inspired by the language of the Hungarian director Béla Tarr, Sara Aliscioni offers images made of symbolism, drama and poetry in an objective but at the same time sentimental interpretation, describing the harsh reality that sees man at its center in familiar and everyday contexts. The common thread is always the search for beauty even when what surrounds the subject is decadent, dark and forgotten.



Extended Editorial


Turin, Italy


Donato Sansone




Sara Aliscioni








Extended Editorial

Can be used to display privately, or in commercial and non-commercial settings, or in groups with an unlimited number of participants. The license includes unlimited use and display in virtual or physical galleries, documentaries, and essays by the NFT holder. Provides no rights to create commercial merchandise, commercial distribution, or derivative works.

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