This section starts from my idea of conceiving architectural photography as an abstraction of forms and lines in a space, attempting to create some images characterized by a strong pictorial virtue.  

I was inspired by artists of the first half of the XX century, in particular Malevic, El Lissitzky, Moholy Nagy and Theo Van Doesburg.

Looking at reality through the viewfinder, I tried to compose these pictures taking advantage of the perspectives created by the way in which volumes of buildings were arranged on different levels. In the same way I took advantage of the strong contrasts determined by the backlight. As the contrasts created further flat surfaces of color, the sky became a pictorial material that I could use, sometimes it was perfectly clear, while other times it had soft shades.




The reality becomes so much abstract that you can overturn these pictures without them losing their  balance and their sense. The reality isn’t described but it is suggested, and inside it you can discover geometric forms and sharp lines. These pictures, just like an Eschers painting, put the spectator in trouble, inducing him to find the right point of view.

The empty space becomes influential in the composition and it’s vital in order to convey harmony to the picture in which the full spaces tend to have a powerful  impact.

These pictures are a complex game where the photographer’s eye is playing versus the spectator’s eye, but both are looking at the infinite and incomprehensible reality.