Come la Memoria non è tanto la funzione del rammentare quanto quella del dimenticare così una certa Ombra non si assume il compito di ‘coprire’ quanto quello di svelare. Attraverso l’apparente funzione coprente dell’Ombra le parti in gioco – salienti – emergono in una inusitata, inaspettata, luce. La serie di ‘ritratti’ presentata qui vuol costituire un abecedario delle forme geometriche e non, abbracciando anche quella psico-geometriche come l’Anello di Moebius – il cono, il tronco di cono, la sfera, il semicerchio, il parallelepipedo, il trapezio, nonché ibridi tra queste e via di seguito – per cui il Paesaggio Urbano può essere decodificato come un alfabeto borgesiano assai meno misterioso di come l’Ombra ci farebbe intendere…”

Architectural photography has been shot since ever using sunlight as a main reference, as a main pivot, and this obviously did indeed make a lot of sense in order  to exploit the rendering of the architectural scenario in a proper way.

Even during nocturne architectural shots the highlights which are shown in the nightlight shots have been there  as a mimick of the lost, desappeared sunlight. Due to the sense of worn out, burn out either, that deeply affect the various kinds of the art of photographing  – both under an aesthetical and technical point of view – because unfortunately the photographing art is so scarce to offer to the photographers the vast array, the magnitude, offered to the artists of all the other arts I have thought to exploit a sense of shooting which is very seldom seen in the past using the might power of the shadow instead of using the crystall clear sense of any kind of sunlight. Thus I have tried to pick up a sense of the architectural scenario using the contrary of the sunlight which is obviously the shadow. The shadow in my idea represents the soul of the architectural scenario. As long as long the shadow is there we deeply feel in my thoughts the presence of what the architect has thought in his ideas and his prjects and his drawings and what the makers of the building of the house of whatever it is the archicertural manufacte made by their hands, by their tools by their machineries. This discourse, this approach is likely very similar to the fact that memory is not what is generally speaking impressed in the minds of the human beings – I mean a tank, a locker, a room where to store all the datas, all the rememberings, all the records – but instead, at the contrary, the function, the procedure to erase, to cancel, to delete those datas, those records, those rememberings. Thus at the same level the Shadow, what is called in latin ‘Umbra’,  is the device to enlight the inner core of the architectural scenario. This is theme, this the background which motivates the “Mighty Power of the Shadow” portfolio hereby proposed.