Time Regained
The truth will only begin to emerge from the moment that the writer takes two different objects […] and encloses them within the circle of fine style […] unites them in a metaphor.
Time Regained, Marcel Proust
The series Time Regained, born from the COVID-19 lockdowns, takes the viewer on a journey through a deserted, nude, yet always beautiful and resilient Venice. On the surface, this is a story about the city, but if we look a little deeper, it is also about the viewer.
The protagonist of Marcel Proust’s In Search of Lost Time is drawn into memory through sensory triggers, most famously the madeleine. Similarly, by finding metaphors in the titles of the photographs, viewers can immerse themselves in their own reflections. Some metaphors are easy to read, while others are more complex. For example, the photograph Crosses hides a philosophical reflection on how modern media has, in some way, replaced religion, something that became even more evident during the lockdown period. However, I would like to leave this play of imagination to the viewers. As they move through the series, they encounter thought-provoking images such as Chained, On the Other Side, 2020–2021, and finally Recovery.
Yes, we were stopped. However, the time was not lost — it was regained. While climate change and environmental challenges remain critical for Venice, the city showed remarkable progress during this period. In 2020, the long-awaited MoSE flood barriers were finally activated, and the ban on cruise ships marked a vital step toward saving the lagoon’s fragile ecosystem.
The central photograph of the project, Recovery, holds profound symbolic importance. Having worked in Venice for many years, I had never once seen fish in its waters. Yet one day in 2021, between lockdowns, while running past the Bacino Orseolo Gondola Station, I could not believe my eyes: the fish had returned, and there were more of them than gondolas.
Ultimately, whether Lost Time or Regained Time is a personal choice that extends beyond the lockdowns.









