The German term Heimat conveys a simultaneity of connotations that has no correspondence in Italian language. The investigation of the idea of “homeland” and “birthplace” is at the core of Nicolò Degiorgis’ most recent projects, in which he focused on the present of the territory that stretches between the Cadore Dolomites and the lagoon of Venice, in the North East of Italy. Stemming from solid sociological premises, its interest has shifted from the complexity of the human landscape to the fascination of rock and sand formations, that can indistinctly be either alpine peaks or heaps of soil from local quarries. These images, juxtaposed in couples on the pages with the book for which they were conceived, follow one another in a precise tonal gradient, starting from the total black of night views to culminate in the dazzling light of the snowy peaks. Degiorgis thus pursues a meticolous composition, rooted on formal correspondences and chromatic accents, in order to translate the principle of cyclicity ruling the life of “his” mountains. From rock to sand, from night to day, in a endless flow punctuated by photography.