I discovered Fabiano's works at the Permanente museum in Milan and after a few months I contacted him to ask if he was interested in my project.

I immediately grasped the interpretation of his artworks, that is the relationship of man with nature and the environment that surrounds him, a relationship that I also found in other artists photographed albeit with different forms and tools. So last June I traveled by train to Imperia, together with my husband Alessandro.

He was waiting for us at the station, with his wife Patrizia, and from that moment on, a true friendship was born with them. A kind, reliable person who immediately confessed his difficulty in being photographed. In reality he posed for several hours without getting tired and almost without wanting to stop.

The chosen location was Villa Biener, a few kilometers from Imperia. A real open-air museum managed by a couple of artists. In the frame of the Great Mother, a large mosaic inspired by the fable of the Great Mother and the child God Kitìrikù, I portrayed Fabiano.

Surrounded by geometric shapes defined together with large luminous pencils that convey messages, Fabiano immersed himself totally in his imagination as if he were living that dreamlike dimension of the Rem phase in which the dreamer perceives images, thoughts and emotions as real. Some visitors to the villa stopped to watch our shooting, very often they smiled. Once the photos were finished, we continued to talk about Crypto Arte in the fairy-tale dimension of the Villa, surrounded by over 50 works by other artists and by the many mosaic tiles that repeated and multiplied beyond our field of vision.

Print Size: cm 46,5 x 66,5 - inches 18,3 x 26,2


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


Villa Biener, Imperia, Italy


Fabiano Speziari




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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