The series is based on a study of the human body in which the image is influenced by a sculpture-like constructive process. This exploration is intertwined with the notion of disinterested beauty. When looking at "DESFORMES", the observer focuses on the geometric rigour of the pieces that are sculpted by light. Though intertwined with contemporary objects, the bodies recall to mind nude classical sculptures. From Rodin to Brancusi and Man Ray to Mapplethorpe, a variety of great artists influenced this project. It evokes a minimalist reality in which the sculptures are naturally arranged in an environment of absolute, near aseptic, white. The installations are then documented through photography, making them both ephemeral and untangible. This is a reality that only exists in the photographies themselves.
Desformes: in search of apperception
Critical introduction by Sandro Iovine
"It is intended that a presence as irreducible as that of the" I "has its place in the universe intelligible, to each other, this external universe has its place in a I if not with the help of metaphors" 
The research carried out through the observation of the body presupposes, in the moment in which he contextualises within a set design, though minimalist, the mass in the relation between subject and his surroundings. If the surrounding reality is "kantianamente" only in function of the presence of a subject capable of conceiving it, which is then the direction of the iconic search of the same? It is designed (thought) (and therefore exists) in relation to the author that it manages and shapes the form on the basis of personal speculation. His conception comes to life through the body in which it is represented and through the reaction to this is imposed in the determination of the pose of the staged objects (objects on scene). This type of research does not derive, therefore, from the pristine withdrawal of a portion of the reality, but by putting in place a thought to which is attributed a physical form.
On what, then, speculates the picture? On the attempt to overcome the simple perception to to reach the perception of the perception, in the words of Leibniz. The process of projection of the questions of the author is being concretised in robbing the bodies of any ability to be identified what is not solely entrusted to the mask. In this you can read at the same time both the inlet and the concealment of the individuality of the author himself both the desire to make the represented body universal. In fact it are the bodies that fold in on themselves in search of the centre of gravity meaning that they implement in and define the world. A world represented as an absence with which it has to stay in relation. The vacuum, which is often the generator of empty horror, that not has to give in to the cenofobic enticement and thewhite grants as a space of reflection in which the viewer can experience visually a search of the attribution of meaning on the body.
A body that bends and deforms, which is reflected in our time loaded with synthesized images in a television screen, distorting mirror of the contemporary world, which is confronted with the matter of the stone, the shape of which refers to the egg bearing within it the symbolic, which insists on the origin of existence and on the female. A body that seems far from being evoked by the written METAPHYSICS that is above it, mirrored in another dimension whose boundary is marked unstabely by the passing tones in the background. A headless body that deals with the emphasis of erudition twisted in on itself, stack of books that I pile. A headless body inscribed in an isosceles triangle that loses its flattening to attempt a foray into space with two lower summits that seem to want to embrace.
Interesting how, in the interweaving of symbols, these will appear. The squares or rectangle of the face of cubes or parallelepipedi (male symbols) on which insist the represented subjects are offset by the curved lines of the bodies (female symbols). Virile energy facing each other in the symbolic juxtaposition, merging sometimes in a unique, as spiraling lines of the stack of books.
The author does not resolve the questioning of the case of the body, but puts it back to the spectator. Isn't the artist in fact responding to others. Its task is to point the finger to stimulate reflection. Luca Izzo makes tending a bridge between abstraction of metaphysical research and the concreteness of the photographic generation in those rarefied references to contemporaneity and its rites, evoked by the immersion of the bodies into the television screen and in furnishing objects that define the daily.
  Georges Bataille, Human figures in Documents, Edizioni Dedalo, Bari, 2009; p. 63.
Critical introduction by Giovanni Pelloso
The mannequin body, is silent. The body-lived, manifestation of experience and knowledge, expression of subjectivity, gives way to an anatomical body devoid of historicity.
Thebody on display, should show its existence. The body-display, fenomena of thespectaclisation and the visual communication , results in the expression of an inevitable social obligation, of a deceptional economy, the one of the stage-setting.
The stripped and faceless body, walks solitarily without an identity, but always willing to wear different outfits. Anonymous fetish, contact surface, what sets it apart is its being prey and doll.
The totemic body, vertical, static, is ready to get Idol. So in reality as on their screen, on new and old media.
None is the transgression to affect his artistic action and even the idea of offering a photograph the sign of an obsession. Neither resonates a glorious echo from greekness about exaltation aesthetic of beauty. As there is no trace of irony and paradox. What leads Luke Izzo to sink a project that you do research, before yet that performance, is the representation of a cult, beyond the body, that the man of the world of imagination uses and consumes. Perfect, without limits or inhibitions, mostly others ' gaze, the body appears the receptor site of a dissociated "I". What is unearthed in a milky white, timeless, does not come from memory, but resides in a vision that outsources and that the medium helps to eternalise. An accumulation of sensations and references that acts/agitates on a body that is a thing (concrete form) and who acquires meaning in the geometric rigor of volumes and their layout (disposition). The illusion of being in front of a unitary subject fell when to reveal itself is possible, transience, modularity.