Carlo Ferraris has a history of using subjects from our daily reality and removing them from it to a certain degree. While many of his photographs, sculptures and videos can be interpreted as a critique on social and cultural history, his works are always conceptual in their intent and reject any clear narrative platform of establishing meaning. The disjunction and opposition add a strange depth to the unfolding occurrences. He affects our senses and understanding in new and unexpected ways, his narrative content loaded with ambiguous irony.