According to French philosopher Gilles Deleuze, the fourth person singular is the result of combining different points of view. Linguistically this combination takes the shape of "free indirect discourse" where the narrator is literally unrecognisable. A sort of transcendence, a linguistic paradox that finds its logic, its essence, in its indefinable. During its creation, the book has undergone an expressive disruption of similar value, finding its shape in accumulation, its time in dispersion. Witness — victim and perpetrator — of this journey is a thin clod of world in the womb of the Mediterranean: Calabria. Case-study and space-world of this research, made between 2015 and 2017, it is the geographical and metaphorical perimeter within which In Quarta Persona organises its visual ecosystem. Skeletons, myth and barricades; butterflies, miracles and rubble; family, emancipation and isolation; utopia, revolt and disappearance. Silhouettes that History has imprinted; in those landscapes that, in the chaotic and naive plasticity of the images, we try to exhume and put in rigorous, frenzied dialogue.