Project 04 · Photobook · 2025/26

argilla

Photographs from a therapeutic ceramics workshop. A documentary book about a place where nobody comes to make a beautiful object: they come to put their hands in the clay.

Year
2025/26
Role
Photography, interview, texts, book design
Course
Documentary Photography · prof.ssa De Antoniis · ABA Roma
Grade
30/30
Format
52 pages · A5 landscape, 210 × 148 mm
The Argilla photobook open on a spread: clay objects and a woman working at the table.

The book open on a spread

The subject

The workshop of Manuela Lupino, art therapist and ceramist, where clay is not a craft to master but a way to give shape to what is hard to say.

The approach

Photograph the healing while it happens, not the wound that came before: hands, tools, waiting. Never a diagnosis.

The result

A 52-page photobook: an interview, then four chapters that follow the clay from the shelf to the kiln.

01 · The workshop

A language before words

The first thing Manuela asks is to get your hands dirty. For an adult used to being in control, a lump of shapeless earth is a short circuit: the fear of getting it wrong, the "I can't do this". To get past it she uses the pinch, an almost primitive gesture that works like a language of the body, before words.

The object that comes out at the end doesn't matter. What matters is what happens while you shape it: the thoughts that go round in circles move into the clay. The book opens with this interview, so that every photograph after it is read through her way of looking.

02 · The epigraph

«Dare forma alla materia è dare forma a sé.»

To give shape to matter is to give shape to yourself.

The first line of the book, on page 4, beside the first photograph: a plate on a wooden table, before any person appears.

03 · Structure

Four chapters that follow the clay

After the interview, the book is built in the same order as a piece of ceramics. La Materia: the tools on the shelf and the grey clay, still asleep. L'Incontro: the first contact between hands and earth. Il Gesto: people around the same table, each one working their own clay. Il Tempo: drying, colour, the kiln, and the cracks that teach.

Each chapter opens with its title alone on a page, after a blank one: a pause, like the wait between one stage of the clay and the next. The book closes on the two people in it, Manuela Lupino and Saverio Cicala, student and artist.

04 · Inside the book

52 pages, from the shelf to the kiln

The flatplan of the book, with the real pages. Choose a chapter, or click any page to open the book right there.

All chaptersFront and back cover, 50 inside pages. An interview and four chapters, each opened by its title alone on a page.
Leaf through the book

Front cover

Drag a page corner, swipe on a phone, or use the arrow keys.

05 · What I'd change

More time in the workshop

A few sessions are enough to show the gestures. A deeper documentary needs more: time to follow the same people and the same pieces from the first pinch to the kiln, so that the book can show a change, not only a moment.