Finally, I would like to focus on the one that’s without a doubt my favourite photograph, Untitled, because it expresses what I like the most about Francesca. It reminds me of the crucifixion by Van Der Weyden but it’s very different in substance. As if with her photograph, Francesca had desecrated something sacred, not the crucifixion that she elevates by placing it in everyday life, inside a home. What she desecrates is art itself, taking crucifixion as a chroma, as a topos from which to build. And hence the importance of what I mentioned earlier, the body as another object, the body in this case as a secondary thing, in this image, where the relationship between each element of the image and the geometric relationships established between them are what create harmony. If we look at the image in detail, we can see how it can be decomposed in rectangles. It’s strange and harmonious. Everything in Francesca’s work seems to have a second skin. In almost all representations of the crucifixion, at the feet of the cross we have the Marys or Joseph of Arimathea, all witnesses. Here the only witnesses are objects: chair, door, sheet. The mute object, witness turned subject, there’s something of a mundane hierophany in all her works, in that desire of exposing herself to the walls and the floors and in wanting to fuse with them and becoming their equal. Francesca also deletes the skulls and death, since all in her work is a memento mori.