Zaza’s work is essentially based on the idea that “art does not offer alternative possibilities to the human condition, but on the contrary is the result of this condition” and, as such, is perpetuated in human thought. With the cycle Cristologia [Christology], presented in 1972 at the Galleria Diagramma/Inga-Pin in Milan, the artist was concerned with “commenting”, through a figurative repertoire, on the false liberty that exists between the individual and various powers.
In Zaza’s art, photography is not purely the “evidence” of an objective reality, but always a “creation” of reality. Behind a “cushion with mysterious signs”, the image returns to being prophetic of a “transfer” that ranges from dream to unexpected, constantly renewed imagination. With his hands clenched or covering his face, the artist mimes magic gestures, opening up the entire vision to “traces” of an unknown existence, in other words to mystery.