Long before it becomes a block on a quarry floor, Carrara marble was a seabed: shell and coral compressed over millions of years and lifted into the Apuan Alps. Laura Veschi’s EverythingFlows takes that duration as its subject and water as its recurring agent — the water that formed the stone, the water that cuts and polishes it, the water that runs through the working day in the quarries and in the studio.

Veschi, who lives and works in Carrara and photographs in black and white, structures the book in four movements. The sequence travels from the mountain to the studio and from the raw block to the finished form, and it follows the sculptor Filippo Tincolini through the passage from first idea to completed work. Her attention stays on what is still being shaped: the tension between what stone has settled into over time and the gesture that reshapes it. Marble appears here less as a fixed substance than as something in motion.

The publication is a hardback of 216 pages, 24 by 30 centimetres, with texts in Italian, English and French, issued by 5 Continents Editions in 2026. The page size suits the verticality of the quarry faces and the close grain of the material, and the trilingual apparatus places the work within a European readership for photography and for sculpture.

For collectors, the book belongs to a deliberate line of work. Veschi has previously published Ritorno a casa, made after her encounter with the sculptor Fabio Viale, and Sentire la forma, the catalogue for an exhibition by Beatrice Taponecco; in 2025 her project HC Resonance accompanied Tincolini’s exhibition Human Connections in Pietrasanta. EverythingFlows is neither a quarry survey nor a studio souvenir but an argument, made photographically and carried by water: that sculpture is a continuing process in which material, labour and memory keep moving.