Rosa Bruno

I studied the rock churches around Matera for my degree, and on a video call I try to pass on what took me years to notice, like the faint outline of a fresco the plaster has almost swallowed. I keep the camera steady rather than moving quickly between churches, since these spaces reward a slow look far more than a fast one. Crossing to the far side of the ravine changes how the whole town reads, and I like showing that shift from the Murgia side before turning the phone back toward the Sassi so a viewer sees both halves of the same story.