ENTRY DESCRIPTION
I met Roberta many years ago through friends of friends. In September 2015 I knew she had a cancer in an advanced stage and I decided to contribute to her struggle taking pictures of her difficult journey. Her answer to my proposal was immediate, enthusiastic and even amused.
Talking to Roberta put me in a condition where facing my emotions became urgent and inevitable. Representing the indissoluble bond of life and death without falling into banal stereotypes is an arduous and continuous challenge. And it is similarly arduous attempting to catch flashes of vitality in the pain and suffering of body and mind.
Life in death, death in life.
Meeting Roberta inevitably raises the question on the sense of life and become for me an inner dialog with the unpredictability and precariousness of existence. It is a deep emotional comparison with the fear of loss and nothingness, feelings that I know well and a sort of personal training to the acceptance of death. It is not easy accepting death as a part of life and similarly it is not easy to accept the Roberta’s journey has come to an end, it is time to go.

AUTHOR
My name is Linda de' Nobili and I live and work in Rome.
I deal with social documentary photography to highlight the cultural and/or social features of places, communities and people I get in touch with.
I've improved myself with specialization courses at the Centro Sperimentale di Fotografia Adams and at the Scuola Permanente di Fotografia Graffiti in Rome.
To me photography is a necessity, a need and not a mere proof of concept. It's the desire to record and tell through pictures all aspects of reality. Sometimes the photography can be a means of examination and social outcry.
My photo features express the desire to write stories and life through pictures of the people I meet. The primary intention is to communicate that diversity is a specific resource to appraise with the contribution that everyone can give to community where he lives.
Stylistically, I often use the wide-angle lens, also for close-up, because my first desire is to create a "penetrating gaze" towards the main character of the story, his essence. The wide-angle lens loses his narrative meaning of description of contexts and permits an intimate style with an interior dialogue between a photographer and the portrayed subject.

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