Dannunzieggiare: Assume attitudes more or less badly inspired by D’Annunzio, in style or behavior.
I have in my hands a series of photos, photo postcards, which portray D’Annunzio in full length. They are real portraits that illustrate, in the pose and in the details, the character of the poet. The images do not describe, in detail, the place in which the figure is immersed. The only identifiable thing is him, Gabriele D’Annunzio, and at the base of the layout we read Fiume, the only element attributable to the place. For the rest, the figure stands out on a wall covered with ivy, on the last steps of a staircase, on the view of an internal garden partially paved with marble slabs or on the gray backdrops of distantly imaginable places.
The bond that traces the history of the poet and the city of Rijeka remains indissoluble, for better or for worse.
I propose the poet’s physiognomy by “sculpting” my mustache and goatee. I make them grow and mold them as they protrude from the epidermal plane.
I have myself portrayed wearing the poet’s poses without hiding in him. I am myself, I do not disguise myself and I want this to be clear.
I look for in the corners of Rijeka, spaces evoking the starting images. Who knows if they are just looting or if, once set sail, I jump on different soils. If I am firmly sincere, shaped on the glimpses of River.
However I feel it, D’Annunzio passed through here and for better or for worse he left his mark.