(...) Eva Tomei follows some of Ulysses' paths in the Mare Nostrum and fixes, in black and white, its immanence. Her photos are enigmatic, although they carry a fragment of effectiveness: the spectrum is of uncertain penetration and her images are evocative. Studium and Punctum, even, sometimes they are diluted... Nevertheless - and inevitably, given the subject they deal with - they recall, stumbling around, the actuality, they quote the drama of the migrants, of the sea carts. Greece, Turkey, Tunisia are the places of Odysseus that today have a different look, fusion of past and present and overlap between reality: that of the poem, the one filtered through the eyes of the operator and the real reality (if ever there was only one). What is certain is that the encounter with places - lived not as tourists but as travellers - and with all that follows and that one encounters, generates change and brings knowledge and, I would say, also a new consciousness.
Ulysses wants to return home, feels the feeling of nostalgia, he hears the call of the roots and desires reunion. Eva lets us perceive it from that melancholic atmosphere with which she permeates her photographs. The fulfillment of the epic wandering will have a happy ending and nothing will be like before because a path - as it was also the case for the Grand Tour of historical memory - forms oneself, fatally leads to an evolution, to the unveiling, to not being blind: not in the sense attributed to the condition of Homer, "he who does not see", to whom was given connotation of prophetic gifts and wisdom helped by the Muses; but to the one indicated by Josef Koudelka: "When you live in a place for a long time, you become blind because you no longer observe anything. I travel so as not to go blind.".
B. Martusciello, da: Finding Homer, Postcart Edizioni, Roma, 2015