Architecture to Alter our Perception of the Landscape
Who influences you graphically?
The works start from a passion for the art movement called vedutismo (18th century Italian art movement) in which views of cities and landscapes are presented.
There are no specific artists that influence me, however, there are some references to the architecture of Gian Battista Piranesi and the utopian visions of E.L. Boullée and C.L. Ledoux and also groups such as Superstudio and Archizoom.
How did the format of the postcard influence composition? The postcard has strong allegation with the notions of nostalgia and memory, how does this relate to the genre of collages your propose?
The composition is not affected by the postcard format but by the subject that is represented.
I trust that postcards represent the most effective way to portray a city or a particular landscape. In fact, using the image of a monument or a specific part of the city immediately bring to mind the place from which they come. This is one of the reasons why, when I work to the drawings, I try to imagine how a particular architecture can be put in that specific context, so that it becomes unusual and alternative. For this and other reasons, concepts such as nostalgia & memory are not the first sensations to which I refer.
What dictated the choice of images you then decontextualised and assembled?
My drawings are aimed at a subject that has always fascinated me and that, in my opinion, is one of the most important elements of architecture: how the project affects, modifies, changes and influences the landscape in which it is located. Starting by the topic of my three year degree: “Le macchine d’acqua lungo l’acquedotto carolino” (The water machines along the acquedotto Caolino), in particular by Ponti della Valle (Bridges of the Valley) which represents a unique and iconic piece of civil engineering of its kind, so important that it becomes essential in the natural context in which it is located. Through the use of a geometric matrix formed by arches like that of the aqueducts I tried to reorganize the scene represented in the chosen view. In some cases, the overlapping of the elements must be constituted the perspective backdrop to the painting; in other situations, the same geometrical mesh, represents the alternative extension of architecture in the painting. In other situations it is a sort of paradigmatic restoration of ruins. Finally, sometimes this process appears efficient, almost the additions were a natural consequence to the balance of the subject chosen; sometimes stranger, almost parasitical against the landscape in which it is located.
However, these jobs might seem like a spasmodic replication of conventional elements but the purpose is to try to see how these elements will inevitably alter the landscape and the observer’s perception; who he is called to reinterpret, using the visual properties of the arch and its multiplication, the same landscape.