Every shadow is a little bit of light

Heir to futuristic dystopias from literature and cinema, such as Metropolis, Fahrenheit 451, Blade Runner and Matrix, the series approaches the city as tragic evidence of the collapse of priorities and excesses in which we live.

“In making the city man has remade himself.” (Robert Park, On Social Control and Collective Behavior, Chicago, 1967)

The futuristic dystopias of literature and cinema, such as Metropolis, Fahrenheit 451, Blade Runner, and Matrix, among others, express concerns and expectations but also loss, frustration, anguish, disillusion, fear. Reality and imagination are not shown as dissimilar elements, but as parts of the same socially complex unit: the city.

“Every shadow is a little bit of light” series inherits this legacy and addresses the urban landscape’s iconography – buildings, streets, squares, sport courts, parks, dwellings – as a metaphor. The places’ indistinctness, the absence of people, the unreality of colours and the imprecision of shapes hint to the idea of mirage, of deception. The city as tragic evidence of the collapse of priorities and excesses in which we live.

The images, however, are somewhat lyrical and permeated with rays of light. As if there were still seeds in what seems to be fading.