In Camposcuro, the viewer is drawn into a mesmerizing world of dark spaces and silent hillsides, populated by a lone traveler. Presented through a series of television sets, reminiscent of a closed-circuit TV system, the scenes evoke a dreamlike abandonment that encourages the viewer to contemplate the nature of persistent human travel and its cycle of continuous movement.

As the viewer follows the single character through each scene, a sense of movement emerges, but it is the faceless repetition interspersed with empty spaces that infers a broader tale of human migration. The recurring elements, such as a bike, encourage the inference of occluded events and create a sense of urgency and foreboding.

The presentation of this installation implies a threat to this cycle of migration: the scenes are shot in low contrast black-and-white, evoking nightfall, and displayed across multiple screens that evoke surveillance. This panopticon-like presentation encourages participation in the watching of the traveler but also highlights the limitations of our understanding of migration and displacement.

The use of striped clothing and a side bag in the installation links it to the artist's previous work and evokes a connection to contemporary issues surrounding migration and border crossing. The "dark fields" of Camposcuro take on a deeper significance in this context, highlighting the challenges and dangers faced by those who must move, by choice or necessity.

In the end, Camposcuro is a haunting and thought-provoking installation that invites the viewer to contemplate the nature of migration, displacement, and human movement. It challenges us to consider the complexities of these issues and our role in shaping the world we inhabit.