The exhibition at Villa Ciani, in the heart of the Luganese park of the homonymous name, is divided into four sections. The first, “Faces”, brings together the giant close-up photographs of women, men and children from Haiti, who seem to question the visitor even though they know they will receive no answer. The views of the capital in the section entitled ‘Port-au-Prince’ are characterised by the obvious fabrication of reality. Stephenson follows almost a pictorial logic and uses superimpositions, fades and juxtapositions of images, games of shapes, lights and contrasts that deform the object and give the whole an almost surreal character. The section entitled “Earthquake” presents images taken in the days immediately following the earthquake that devastated Haiti on 12^th January 2010. The sequence is strongly paced, almost obsessive, and attempts to restore the sense of lost disbelief towards the event, which is one of the most hidden aspects of Stephenson’s poetics. The section entitled “Tents” is dedicated to the dramatic and at the same time poetic reportage on the cloth shelters built immediately after the earthquake, to protect against the sun and to sleep in. They are ephemeral wrappings, which have no other purpose than to mark boundaries to the fear of great natural determinisms and the sense of anguished emptiness left by the pain in the soul of an infinitely tormented people. The last section of the exhibition, entitled ‘Landscapes’, deliberately introduces a narrative break with the works of the previous sections. A painful indefiniteness is perceived, suspended between a fragile oasis of inner research and the awareness of not being able to transcend the great forces of nature and society.