Walking along the great Prospect

Walking along the great Prospect began from a want to simplify the landscape in order to understand it better. To do so, I wanted to exploit the most surpreme instrument of human vision: the geometric perspective. The aim of this medium is to rationalise space and make it known; in particular, I focused on natural spaces that man has not created with his own hands, or at least not entirely.

Applying this type of vision, the landscape has become so simplified that it has become rarefied and unnaturalised until it is no longer recognisable. I wanted to compare the two macro dimensions of the human being and the natural landscape, focusing on how humans look at something that is almost alien to them because it escapes total control and, therefore, in an attempt to understand it, appears abstract like spots of colour on a canvas.

This thought has been latent in my photographs for some years now and I have found it again by looking back at some of my old images, so it can also be extended to many places I have studied, which is why I still consider it a ongoing project.

Walking along the great Prospect of our city, I mentally erase the elements I have decided not to take into consideration. I pass a ministry building, whose façade is laden with caryatids, columns, balustrades, plinths, brackets, metopes; and I feel the need to reduce it to a smooth vertical surface, a slab of opaque glass, a partition that defines space without imposing itself on one’s sight. [...] The world is so complicated, tangled, and overloaded that to see into it with any clarity you must prune and prune.

Italo Calvino, Se una notte d'inverno un viaggiatore, 1979

2016 - ongoing