Michele Ravasio

© Michele Ravasio


Milan is a grey city. Essentially, it’s a uniform casting of asphalt and cement. Bringing some colour to its streets is very hard work.

This project, titled Broken Flowers, is dedicated to the many and various flower kiosks spread throughout each neighbourhood of the city. It tells about an impossible challenge, lost already at the beginning, against a hostile environment, and in the good season against heat and sun too, which threaten to burn the flowers. For that reason the flower sellers have, for more than half of the year, to find any possible solution to cover carefully their merchandise through awnings and cloths of any sort, of any pattern and fabric, that they move depending on the sun movement, and the result is the picturesque look of these little “flower cottages.”

They turn out to be completely foreign, seem to have fallen out of the sky and the tents contribute to further their distance from the surrounding area. Similar, furthermore, is the state of the ones that, besides flowers, are under those tents. 90% of them are young men from Bangladesh who do not speak Italian and manage hardly to understand and to help the nowadays very few clients. For them integration is a mirage simply out of reach, an ideal landing place, last unlucky carriers of one of the activities that will be totally swallowed up by the large retailers.

— Michele Ravasio, Milan, Italy

© Michele Ravasio

© Michele Ravasio3

Michele Cabas

© Michele Cabas


Beauty is in every thing and everywhere.
The task of the photographer is to present it in accessible terms.
This is achieved by providing an incomplete picture, without unnecessary frills, the ideas in their natural state.
This allows you to go back to the archetype, the true source of light.
The light that strikes the film.

— Michele Cabas aka Joe Galaxy, Gorizia, Italy

© Michele Cabas

© Michele Cabas3

Michele Bressan


The Romanian landscape is presented by archiving scenes from my immediate surroundings and typical everyday situations, from the areas I could relate to as my landscape. The images are realized avoiding the research of a typology, letting the viewer spot common patterns, in order to go beyond the topographical aspect, and imagine the whole context.

The landscape became a container of situations and relations, describing the aesthetic relationships between landmarks coming from both the Communist period and the current reality. The objective representations of how architecture intervenes in space, mixes with spontaneous and universally-valid elements, together enabling the formation of a time and site-specific imagery of the Romanian landscape.

By showing how a simple scene from the everyday life tends to appear complicated by the simple reproduction of it — because usually the sum of details can’t be spotted on the fly, I’ve chosen to fix and enlarge details and situations, offering a larger angle of view, and the possibility to choose how to approach the image.

— Michele Bressan, Bucharest, Romania