“THE DAYS WERE, AS ALWAYS, MARKED BY TEARS AND WORK: THE REVOLUTION WAS NECESSARY. THE INHABITANTS OF THE VILLAGE DECIDED IT UNITED BY ANGER AND FEAR. WITHOUT HELP, WITHOUT GIVING IN OR FALSE HOPE, THEY USED A FEW KILOS OF DYNAMITE FROM THE QUARRY THE TUNNEL WAS BLOCKED BY HUGE BOULDERS, YOU COULDN’T SEE ANYTHING THE LAUGHTER WAS MIXED NOW WITH THE BLOOD THAT FLOWED FROM THEIR EYES, THE NEW SMALL TOWN WAS NOW SHELTERED FROM THE FURY OF THE BAD MEN. THE WORLD WAS TOO FIERCE TO BE FACED IT WAS A WISE DECISION THEY FORGOT THEIR MOURNING AND HID THEIR REGRETS UNDER THE LAST REMAINING STONES ON THE MOUNTAIN OF SALVATION THE LAST WORDS I HEARD BEFORE I WENT CRAZY WERE THESE: “A SUMMER EVENING IN THE MIDDLE OF THE WOODS WE DECIDED TO ABANDON OUR DEMONS BUT THEY FOLLOWED US FOREVER UNTIL THE END OF THE LONG JOURNEY”

Wings Dirty with Blood investigates the relationship between body, nature, and rituality, exploring the boundary between ecstasy and disorientation, liberation and alienation. Through an aesthetic suspended between reality and dreamlike vision, the images portray figures immersed in a nocturnal and untamed setting, evoking a dimension of collective trance and transformation. The visual language accentuates the tension between presence and dissolution, between the individual and the surrounding landscape. Anonymous, naked bodies, stripped of any recognizable identity, merge with the environment, recalling ancient rites of passage or archaic celebrations in which the boundary between the human and the primordial dissolves. The entire body of work constructs an open-ended narrative, where time appears suspended and action unfolds in a liminal space—between a gesture of liberation and the inevitable return to reality. The project invites the viewer to question the meaning of escape, memory, and resistance through the body and its relationship with space.