Among the French photographic artists, Marc.

I am very fond of him, during the Casablanca Festival my husband and I made a real friendship together.

The memory I have is that an artist always busy with his tools made by the oculus, the projector, wires, computers and much more.

One of those days made me try the experience of travel in its augmented reality made up of labyrinths, numbers, words, horizons of mountains and seas to explore. He often muttered because he is a perfectionist and his installation had to be absolutely flawless.

On that occasion, talking about himself and his works, we talked about NFT and his publications. I asked him if he wanted to pose for me and he, with the typical kindness of French men, told me that he was really happy to participate in this project. We waited for the right day and time to shoot, the sun sets very late in Casablanca and we needed evening to take the photos in the American Arts Center.

Marc was our dinner companion together with Tommy Lawson, also a digital artist. It made me smile to see them together when they set up their installations: Tommy seemed to have everything under control, while Marc always showed a certain concern. Alessandro and I affectionately call him Jean Claude, because he resembles our cousin from Auxerre both physically and in his manners. In fact, Marc is now a cousin in law for us.

Only one thing made me angry, the fact that he gave me little time for the portrait. He said to me “dépêche-toi, dépêche-toi!” (Hurry up, Hurry up!), but I forgave him, because this too is part of his person and of his being a prime number among many even numbers!

Print Size: cm 64,2 x 48,2 - inches 25,3 x 19


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


Casablanca, Morocco


Marc Veyrat




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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