WORK(IN)SPACE: "Unending" by MFA in Photography Students at Tethys Gallery | SACI College of Art & Design Florence


Alumni & Exhibitions

WORK(IN)SPACE: "Unending" by MFA in Photography Students at Tethys Gallery

Unending, an group exhibition at Tethys Gallery in Florence, presents recents works by MFA in Photography Students.

Opening February 26 at Tethys Gallery in Florence, Unending features new works by students in the MFA in Photography at SACI. Participating photographers include Lindsey Campbell, Marie-France Robichaud, Rudransh Nagi and Victor Restrepo.

February 26-March 2, 2021
9:00am-6:00pm daily
Tethys Gallery
Via dei Vellutini 17/r, Florence


An “alone together” exhibition of Lindsey Campbell, Marie-France Robichaud, Rudransh Nagi and Victor Restrepo.

The title chosen could have been Alone Together. In fact the exhibition comprises the projects of four students that, under other circumstances, would have been exhibited as individual shows. But this exhibition is a true opportunity to capture, beyond the obvious differences in language, the profound desire to understand, through the filter of their own creativity, pressing, real problems.

Lindsey Campbell has chosen a documentary language to tell what mobility is in Covid's time. Restrictions, limitations common to all, stages of a progressive adaptation to a life that will perhaps be imposed on us for a long time to come.

Marie-France Robichaud uses an indexical means of expression, linked to representation, to tell through visual metaphors and a particular compositional structure an invisible concept in itself, the loss of memory of a person dear to her. In an effort to make visible the invisible, her work makes us think of how Descartes imagined sight to be a more sensitive and prehensile form of touch, we would say, as eyes on fingertips.

Rudransh Nagi chose the symbolic function of photography to talk about something that it is not usual to see displayed, namely the desire to end one's life in adolescence. Looking back at the past, at what is behind us, challenges the task superficially assigned to photography since its inception, that of confronting the present. The symbol then becomes the bridge between the past and the present.

Lastly, Victor Restrepo speaks of another journey, that of recovery from a disease that slowed him down without stopping him, and of the surprise of discovering new ideas in his eyes that had somehow replaced or merged with those of the past.

The approaches of each of the artists have declined photography according to the functions assigned to signs by Charles Sanders Peirce, “icon” or representation, “index” or linked to the physical relationship between recording medium and physical cause, “symbol” or linked to linguistic conventions. In a way, this exhibition also speaks of the nature of our medium.

This is another reason why it is simply nice to see the artists exhibiting their individual projects together. The beauty of a color is only understandable in its variety when we see them alongside other colors. Unendingly.

Jacopo Santini and Romeo Di Loreto, Co-Directors of the MFA in Photography program


WORK(IN)SPACE is a series of exhibition projects by SACI 2nd-Year MFA candidates, as part of the Professional Practicum Seminar. Students work directly in a gallery space to critically engage with the challenges offered by preparing an exhibition. Working with SACI Instructors Jacopo Santini and Romeo Di Loreto, as well as with gallery professionals, students step outside of their studio environment to rethink their work in an exhibition setting, learning to consider all the aspects, limitations, and needs of the given space to achieve the best final result.

WORK(IN)SPACE is held in a local gallery and includes all phases of the exhibition, from the planning to the installation of the show.


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  • Lindsey Campbell

    New Mobility

    The coronavirus has changed our lives in many unspeakable ways. One of the biggest things that I personally have noticed is that many people have changed the way they get around. For one thing, when I came back to Italy in August, I decided to buy a bike because I didn’t want to have to take public transit and be close to other people. In fact, earlier in the pandemic the Italian government gave subsidies to people who bought new bikes. They also deployed more public transit vehicles, such as trains, trams, and buses.

    This has really underlined the fact that we need vehicles like this even in the midst of a global pandemic. People will always need to get around the city, that’s something that will never change. But with more regulations, the way that this happens looks very different, i.e. the higher number of buses and trains being put to use in the cities. I have also noticed that the city has started using some of the older buses in this effort to allow more people to travel while also enforcing social distancing. This also changes depending on where you are in Italy. In Florence, for example, we have seen more people using their own personal vehicles if they have the option to do so. More people are driving their own cars, riding their bikes or electric scooters, or simply walking to their destination. But the people who don’t have this freedom are using the more frequent buses and trams to get around the city.

    Along with these other issues, we still have to combat the issue of transportation vs. global warming. Many stores and companies are trying to cash in on this new economic boom for going green, saying that they will reward people who arrive by bike or scooter to do their shopping.

    This wonderful tapestry makes for brilliant compositions of light and color and different modes of transit.

  • Marie-France Robichaud


    This ongoing research explores the landscape as a metaphor of disintegration of one’s ability to recall the past. My body of work is expressed in a narrative visual form based on ideas rooted in family stories or experiences from the past, hopefully able to explain the present. The series Persiennes is about my primary source of inspiration, my paternal grandmother Gabrielle who is coping with a form of dementia.

    The project represents my attempt to understand her thinking process as it relates to her memory loss.

    My images try to provide an interpretation of the way Gabrielle thinks and relates to the world and to memory in her current conditions. She can’t not separate what is real and constructed when she shares past events. Superimposing two sets of images is a way to mimic it and combine the past of her youth and the present, represented by places affected by natural erosion phenomena.

    The images of this series take the form of a slightly open horizontal curtain with no indication of what is in front or in the back, nor the certainty of lurking from the inside or outside point of view.

  • Rudransh Nagi

    Killing Myself

    A single flash of light breaks the blackness in the images. The light creates a circle on the black ground which illuminates every object. The innocence of the toys like a broken and scratched tank or a brand new military airplane. The calming feeling of putting your head on a wrinkled pillow. The healing properties of an antiseptic plastic bottle. Taking a relaxing bath in a bathtub. Using a blade to cut paper for your projects. Tall towers like the leaning tower of Pisa creating an unforgettable memory of a trip. For me, each of these objects had a different meaning. They are a symbolic representation of my thoughts. They represent the ways I imagined I would kill myself between 14 and 16 years old.

    Blackness in the images is a symbol of the darkness I had in my life. My life was killing me and the only light was to commit suicide. This struggle was part of my everyday over time. These thoughts became more and more creative in those two years, such as, for example, enlisting so that I could die for my country and make my family proud of me.

    Each line under the image shows verbally the exact thought I used to have while contemplating to use one of the methods. Those were the soothing thoughts of killing myself.

  • Victor Restrepo

    Un Viaggio

    Talking about my fears, almost two years ago, I said that the main one was that my ideas would escape from my head on the operating table. The person I was talking to replied that others, perhaps, would come in.

    This is not so much the journey, il viaggio, but a particular journey. The one I started in the summer of a year ago in Florence and which I am continuing now, in Bogotá. It is a journey of recovery and rediscovery, of what I thought I had lost and of my own vision.

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