Often conceptual photography is epidermically surreal and impalpable. This is not the case of Davide Gualtieri's shots. And it is not the case of "In the reflections, in the mirrors. Close to presences and absences ”, photographic project of the young roman artist. Photos meaning reality, material, human presence. As crystallizations of theatre or cinematographic scenes. The interpretation of the project is more impervious at a second observation.

Expressiveness of the artist tend asymptotically to the absolute. Sometimes aspiring power from any scene. Sometimes loading energy on the vision that lies to be burnt: this is the case of the gust of incoming wind and dance step in pirouette. Sometimes joking with spectator defocusing the context.

Sometimes going to eviscerate impressions of eros in shapes, cuts, faces and postures. Tickling the nose with Ethos, rather than with Pathos.

In Ethos one of the Gualtieri's most innovative features: an active impersonality that gives life proper to the works. A life in which it is possible to identify one body and one spirit. That don't seem in contrast but in mutual correlation.

In eros emerges the principle of complementarity of “In the reflections, in the mirrors. Close to presences and absences ": in addition to body/spirit, another binary dimension recurs: man/woman with a contact plan as goal.