Whilst for the Greeks, who had the cult of epithets, the essence of the person is in their name, because part of the name is its etymon, its hidden truth, buried in its root, in our society, made from multiple and changing identities, the name no longer connotes a person, an individual, a subject, if detached from the face. It is the face that provides a name; it is the gesture that turns the world’s anonymous crowd into a group of people. Two languages face and oppose each other: the serial, cold, inert language, without nuances, represented by the list, by the name. And the warm, unpredictable language, constantly moving, of the person, of the individual: the image of a face, the smell of a body, the expression of an eye. Far from being the faithful reproduction of reality, in Molteplici unici the photography is a means, along with others, of creating a new space, where images and names are encased, are superimposed, coexist, creating new levels of interpretation and a reflection on language and identity. In this space, in which face and name draw their evocative strength and their figurative and representational power from coexistence, the identity is revealed.