In this project, I combine the objectivity of the structures filmed through a careful choice of shots with my personal vision. More than narrating or describing, I try to communicate the emotion of the gaze, the desire to recompose reality according to my perception, sometimes extrapolating the lines and perspectives from their belonging to an architectural context or uniting and fixing the lights, the material and the colors in a new spatiality. I look for particular perspectives, unusual points of view, angles, and visual glimpses from which the architectures mix in a dialogue of lines, shapes, and contrasts of lights and colors: they are the result of perspective and the search for points of view from which structures and distinct forms, physically separated from each other, instead appear to our gaze as fused and united.
The urban landscapes of this series are often compressed, and the volumes are canceled. The extensive use of the telephoto lens isolates the facades of skyscrapers and buildings that are already daring in themselves, returning surfaces that are two-dimensional to the observer’s perception; the mirrored windows incorporate and play the same game on the surrounding elements, with the result of making people think to the “textures” of clothes or futuristic furnishings or even to the macro image of something that does not exist. In this context, in a game of mirrors and correspondences, the geometric construction of the image gives the viewer a reformulated, therefore reinterpreted, vision of the photographed space, which brings psychological and perceptive aspects into play.
As photographers, we observe the world with particular eyes. Everything that can escape or appear normal, uninteresting, or repetitive, can become noteworthy in the eyes of a photographer. The ability to see also depends on the ability to imagine, to select, and to synthesize.

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