They are images of a crisis, in which the aesthetic force assumes a precise ethical value. The photographic field, that of sociology and politics, merge and the photographs, far from the world of photoreportage, are more like absolute evocative images. This is the case of Segnimigranti, a series born from the emotion of the artist for the tragic death of over three hundred migrants in the waters of Lampedusa in October 2013. On the beach of Giardini Naxos the black lava boulders were marked with white tempera, a reference to the body painting of the African world: numbering of bodies, but also liberating flight of seagulls. Here drawing and photography intertwine, because Cresci traces an essential, white mark, almost to mark the ground in a delicate but definitive way, to tell the victims of the shipwrecks, the absentees at the landing, the missing without name. The sign photographed becomes at the same time story and assumption of responsibility, the artist takes charge of the tragedy taking it upon himself, through the performative gesture, with the essentiality of a feeling of pietas.
To the images of the figures wrapped in thermal blankets (Icona, 2016), used in rescuing the survivors, the artist attributes the plasticity of the sculpture. It is not a simple and pure search for form, but a transfer of meaning, a shift, a translation, beyond the moment of representation. They are faceless humans because they have lost their identity, just like every other material good: they are the essential icons of a "landing place". In this sense also the abstract interpretation of thermal blankets. (Black silver, 2016) becomes a symbol of welcome and tender protection. While the inexhaustible capacity for transformation of fire becomes, in "Incandescenze # 02", a black heart of lava stone, symbol of a place, Lampedusa and of a desired capacity of hospitality.
Being present at one's own time means avoiding self-reference, staying attached to a technique, to a theme, to become reliable witnesses of a humanity, in this case painful and migrant. The same choices of Cresci's artistic poetry demonstrate without interruption over the years, the presentation of issues not only aesthetic but political, ethical, cultural, of great depth and importance.