Rebecca Moccia (Naples, 1992) works across different media, including photography, which she approaches in a way that departs from traditional practice. Rather than emphasizing the medium’s documentary or informative function, the artist focuses on its ability to create atmosphere and evoke emotional perception and stimulate critical reflection, establishing a subtle connection with the context she explores. For this reason, the images appear partially disturbed, at times blurred, as if the viewer were invited to challenge their own gaze and move visually through them in order to fully perceive them.
The body of work consists of photographs gathered in 2025 during Rebecca Moccia’s residency in Peschiera del Garda at the Zenato estates, produced by the artist or shared with her by workers, and interwoven with documentation from a visit to the Vetrobalsamo glassworks.
The artist focused on simple, functional images circulating via smartphones or captured fleetingly — images deeply marked by their digital nature and, precisely for this reason, strongly material, destined to age just like the wine maturing alongside them.
Within these images emerges an emotional and collective narrative of the material processes connected to labour and place, rather than a spectacular or celebratory account.
We then encounter illuminated pages drawn from ancient books on viticulture; elsewhere, drawings of winery equipment recount the tools and material culture of labour across the centuries. Also included are stills from the video Workers’ Sunshine, retracing the experience of those who head to the vineyards at dawn during the grape harvest — a moment that momentarily escapes pure productivity and is restored to a perceptual and collective dimension.
