This work was born out of the desire, beyond the play on words used to define it, to close (or resolve) the project with a sort of distortion and modified re-emergence corresponding to its

original purpose and vision. By means of a, so to speak, circular process, the work started from the engravings on paper, which through their implementation brought to life a new

The focus was on a rather intimate approach to the work, through more evocative creations (the hidden landscapes) and then a return to the originating principle, that is, the concluding work of the printed sheets. We thus arrived at a revival of the flat appearance, with respect to which the visual distortion, always present in my work, was achieved through a perceptual disturbance originating in the stereoscopic aspect of the work (3D prints). The physical encumbrance that I strived to recreate through these last

The visual trick used in this case, while not fully attributed to a new or original technique (stereoscopic images have been around for a while, even if not overly used), posed a series of problems, including some that affected the implementation of the work. The latter resulted from the aesthetic demands of the work and, in some cases and surprisingly exceeded the original vision.

One of the problems that came into play, focused on the need to produce an image that, even without the help of the visual aids (the 3D glasses), was enjoyable, or at the very least did not, at first glance, produce a negative or disorienting effect. Through experimentation with the photographic techniques employed, and by means of post-production techniques applied to the work, the images attained a level or

It is, in fact, well known that stereoscopic images are composed of overlapping planes of vision, which induce a false representation of the true depth perception (after all, this is the function of binocular vision). However, these overlapping visual levels often render a distinctly superficial result on the one hand presenting the observer with a rather striking image, while at the same time rendering a pronounced corporeal loss of its contents. The result is often discouraging: the observer can clearly perceive the realism induced by the spatial aspect of the work. However, the contents are rendered flat and devoid of substance, as if they were maquettes (scale models) contained within a theatrical backdrop.

In this respect (almost surprisingly) it was the very nature of the work from which the 3D plates were eventually realised, that favored and rendered a calmer and more placid perception as relating to its stereoscopic nature, while giving way to the possibility of a vision that was not in actuality limited to a mere useless, visual game. In all likelihood, it was the profusion and the

richness of the perspective layers associated with the original moulds (bronze and ceramic work with countless undercuts) which, in fact, completely neutralised the striking yet false perception of reality that is often, as mentioned, exhibited by stereoscopic work, and instead delivered, a calm and reflective vision of the work. If I wear the 3D glasses and I take the time to