In these three works with pastel pink backgrounds—one of them crossed by the word resistance in a soft green—a visual manifesto unfolds: childhood as a sacred territory, capable of defying violence and adversity with the invisible force of imagination.

Johan Huizinga, in Homo Ludens, reminds us that play is “older than culture itself” and that at its core lies freedom. This freedom, embodied in the young people I portray, becomes both refuge and trench: laughter as a shield, creativity as a weapon, and playfulness as a political act.

The gazes and bodies inhabiting this series bear witness to childhoods that have learned to hold one another. Their lives—marked by inequality, migration, or conflict—are already, in themselves, an exercise in resistance: resisting in order to dream, to believe, to exist. As Francesco Tonucci states, “a child who plays is a citizen exercising their rights,” and in that act—fragile as it may seem—collective humanity is preserved.

In Resistance, every stroke is an embrace and every color, a pact of care.