In the summer of 1999, photographer Attilio Solzi and his wife Paola began to travel intermittently up and down Italy by car. Attilio, equipped with a cheap ‘point and shoot’ 35mm camera, documented their various journeys in black and white, capturing characteristics of Italian life, such as family and religion, along the way. Primarily the work acts as a visual diary that combines the ‘shoot from the hip’ style of Gary Winogrand with the roving eye of Daido Moriyama. ‘The Last Summer’ also serves as an intimate portrait of his wife Paola, who is a constant presence within the frame as Attilio rarely negates her, forging a joint perspective, whilst also exhibiting a scopophilic tendency that is threaded throughout the work. The negatives had sat away in a drawer for years, as Paola notes in her introduction to the work, until recently discovered. They bear the scratching and marking distinctive of the passing of time on the physical and in this sense the book acts as a reminder of the photograph as a means of resurrection, and of memory made corporeal. Finally, the book recognizes our desire for looking, in part as voyeurs but also as surveyors of time and place.