‘A hundred times have I thought New York is a catastrophe, and fifty times : It is a beautiful catastrophe’ (Le Corbusier)
Explore the landscape in various forms with a strong perspective distortion: from the glimpses of Lucca, my small and comforting city, up to the great American metropolises.
“On the road” Kerouac would say, in the company of my inappropriate, off-axis, look on the world. A non-coded road that, pebble after pebble, led me to lose myself for a few months between metropolitan, majestic and shamelessly modern American scenarios. The urgency to reproduce skyscrapers, with their vertiginous perspectives to which sometimes I would add storms and lightning, to paint easily recognizable urban scenarios or anonymous glimpses, has been unstoppable and irrepressible as much as the illusion of being able to conquer them, to become familiar and feel less lost, less infinitely small in the world.
It is useless to try to resist the fascination of the space of the modern metropolis, a dimension so far from the concept of “on a human scale”. Impossible to resist the extraordinary vision of the human being who, with architecture, goes to conquer the sky as well as territory: it was too late, I was fooled. Dizzying architectures in strong tension with the law of gravity, rigorous geometries of modern metropolis, reflecting surfaces that continually refer to the sky, a daily source of spectacle full of fluid and elusive details, in frenetic movement, have become an endless and endless set design. A perennial search for balance between rigor and chaos, to which sometimes add storms and hurricanes, catastrophic atmospheric events that are very unpredictable, certainly uncontrollable, that show the vulnerability of the metropolis, which, put in difficulty, acquire a totally new charm, almost at the limit of inappropriate.
It is in this context that nature enters forcefully, trying to re-establish an original order escaped from man, who, taken from the magnificence of his interventions in space and full of himself, does not realize that he has given life to a new artificial, concrete organism, steel and crystal that acts and reacts without being seen or perceived. And everything is lost, in the nuances, in the contours of time, in memory.