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The disenchanted yet extraordinary Eva Rubinstein “justifies” her choice to be a photographer, having abandoned the lights of the stage to devote herself to the magic of the image of light, stating that photography is a lasting work of creation and not a mere instant forgotten (Giuliana Scimè). Maria Pia discovers photography in the studio of Aldo Palazzolo, in London she confronts the different aspects of photographic poetry and defines her choice: she will prefer the “constructed” photo as the final or ongoing event of a project of which she will direct the direction.

The photos of Maria Pia, born from an idea and a consequential performance that gives the theater the inventiveness and the scenic aspects, are an open and unfinished story that, labyrinthically, can be continued but never concluded by the observer. The subjects represented, accomplices in the game, operate in a constant contrast between animate and inanimate, inserting themselves between symbolic objects whose collocation, inside the photo, is not accidental.