The title plays on a double meaning, recalling both the idea of flight, with a view from above, and that of not dwelling on the details. It is an invitation to look beyond the surface and to reflect on how the essence of things often emerges from the whole rather than from the details.
My painting is, by nature, evocative: I do not chase the detail, even when a work, like this, may appear surprisingly detailed. It is, in reality, a visual illusion, built through the juxtaposition of countless light and dark segments. This play of contrasts creates a structure that recalls urban complexity without ever losing its abstract and symbolic character.
The artwork is part of a cycle dedicated to urban views from above, a point of view that is intentionally different from the everyday one. The intent is to suggest how changing perspective can completely transform the perception of reality. From a certain height, the chaos of the city is simplified into a mosaic of shapes, colors and lights, while life itself, seen from afar, can appear monotonous, repetitive, almost devoid of references.
This detached gaze offers a starting point for broader reflections. What does "seeing" really mean? And how often do we get lost in the obsession for details, losing the overall vision? ‘’Overlooking the details’’ thus becomes an invitation to explore, to contemplate, to rediscover the harmony hidden in the apparent chaos of our existence.

The artwork evokes an urban landscape that recalls the archetypal image of a typically American place. Main Street is the main road: wide, linear, reassuring, where every detail is fully visible and the colors seem to shine with an almost ideal intensity. It is a place that is charged with symbolic meanings, a microcosm of order and hope, a scenario where everything appears in balance, just as one dreams tomorrow should be. The representation thus becomes a manifesto of optimism and aspiration, an invitation to imagine a future in which simplicity and clarity intertwine with beauty and serenity.

This work embodies the intense exchange between the artist and the canvas, a lively and incessant dialogue that oscillates between creative intuition and spontaneous improvisation. Every gesture, every drip, every sign - be it evocative or barely hinted at - merges with the space suggested by the pictorial surface, becoming part of an evolving story. This dialogue does not end in the creative act, but expands, involving the observer in a continuous interaction. It is an invitation to read, interpret and complete the visual language, in a game of emotional and imaginative resonances.

For this painting I was inspired by the cities of Northern Europe, a mélange of atmospheres that recall Paris, London, Edinburgh. These are places that fascinate me deeply, with their imposing and characterful architecture, where the large buildings stand as witnesses of time. And then there are the skylights, perched on the roofs like discreet eyes that observe the world from above. I like to imagine the stories they could tell, intertwining lives, dreams, secrets whispered at dusk. This painting is not only a tribute to those urban views, but an attempt to capture the essence of those places, so imbued with charm and mystery.

In this work, the absolute protagonist is the road: a long straight expanse that unfolds with confidence, a symbol and metaphor of life. This road represents the universal desire for a path without obstacles, a linear path where dreams and hopes can flow without unexpected deviations or tortuous curves. It is a journey towards the horizon, an invitation to reflect on the relationship between the simplicity of the journey and the complexity of living. Dreams, life, paths: three words that intertwine, giving shape to an image of aspiration and possibility, where each step is a fragment of personal and collective history.

It is not a simple night landscape that I wanted to represent, nor a moving train. It is the light, that fleeting and vibrant light that precedes the train and moves with its same impetuous speed. For those who remain still to observe, it is a fleeting moment, a flash that tears the darkness, a gash in the darkness that manifests itself as a small big bang, a rebirth, a sudden miracle. And then, like all epiphanies, it dissolves. The night returns, but the echo of that light remains, like a whisper that echoes in the soul.

''This artwork was created as a tribute to the great director Michelangelo Antonioni on the occasion of the centenary of his birth. It was exhibited at the Pavilion of Contemporary Art of the Palazzo dei Diamanti in Ferrara, as part of the celebrations dedicated to the event, alongside the works of other invited artists.
The work is inspired by Antonioni's visual poetics, reinterpreting some of his iconic shots. In the lower part, the director's typical urban outskirts are evoked, with references to the long shots of L'Eclisse, which tell of rarefied spaces full of emotional meaning. The upper section, on the other hand, is a tribute to Zabriskie Point: a revisitation of the famous moment in which the clothes, projected into the air by the explosion of a villa, seem to dance in the sky. Here, the dramatic element of the explosion is transformed into an act of pure visual poetry, where the floating clothes are reinterpreted as the contents of an exploding wardrobe, creating an artistic and positive suggestion within the tragic context.
The title, REAL-MENTE, plays with the double meaning of the term. On the one hand, it recalls the concrete reality represented in Antonioni’s cinema, on the other it evokes a “mental reality”, the one imagined and transfigured by the creative eye. The work therefore acts as a bridge between the real and the symbolic, between what we see and what our mind is able to reinterpret, transforming drama into art.'' Alfredo Pini

''I explored the essence of urbanity and the vibrant life of a large metropolis, drawing inspiration from the city of New York. The painting, made with acrylic and oil, aims to capture the dynamism and incessant rhythm that characterize large cities. Through a figurative language, I tried to give shape to contrasting emotions: chaos intertwines with beauty, solitude finds a counterpart in connection.
The work emanates a pulsating energy and invites the viewer to reflect on the dual nature of urban life, frenetic and at the same time irresistibly magnetic. The choice of yellow as the dominant color is not accidental: it is a shade that evokes hope, optimism, energy and vitality, illuminating the painting with profound meanings.
The title, Elsewhere, goes beyond the tangible world. It is a reference to parallel dimensions: imagination, fantasy and the intimacy of the soul. An invitation to seek new horizons, internal and external, in the heart of an urban panorama.'' Alfredo Pini
This work is a diptych, it is composed of two canvases measuring 120x100 cm each which, placed side by side, measure 120x200 cm.

''The title encapsulates the essence of the work: New York, the Twin Towers, and an instant before the course of history changed forever. It was a day like many others, in which everything seemed to flow in the routine of a lively and pulsating metropolis: the vibrant colors of the city, the incessant traffic, life that moved at its usual pace.

And then, in a single moment, everything was transformed. That sense of normality was shattered by an event that left an indelible mark on the collective memory, capable of redefining not only a place, but an entire era. The work captures the moment suspended between apparent quiet and the eruption of tragedy, a tribute to the fragility and resilience of human beings in the face of the unpredictable.'' Alfredo Pini

''The artwork represents a suspended view, placed halfway between a view from above and a closer one. I played with perspectives, reversing and superimposing them, to create contrasting visual effects and give life to a deliberately ambivalent composition. The square is observed from above, with a vision that suggests detachment and breadth, while the statue in the center, placed low, is represented from a more frontal perspective, almost close, emphasizing a tension between different points of view. This perspective contrast becomes a metaphor for my contradictions and, ultimately, for universal ones.
The chromatic choice is based on a sort of visual dichotomy: a light, almost white contrasts with a deep, dark shadow, further emphasizing the alternation between opposites, between lightness and gravity, movement and stillness.
The title, Fast but not so much, contains a subtle irony. On the one hand, it suggests the dynamism of moving cars; on the other, it recalls the solemn immobility of buildings, silent witnesses to the passage of time. This combination of opposite elements is reflected not only in the composition, but also in the broader meaning of the work: a visual story of the contradictions that define our lives, always balanced between speed and slowness, change and permanence." Alfredo Pini