Los Angeles and the generic city.
When I tell you "I'm married", all you say is "I do".
When I say "don't get hurt" you hear "flirt harder".
- Sandra Beasley, Love Poem for Los Angeles, excerpt -
Fragmented and homogeneous at a time, playfully presented, but strangely incomprehensible. Apparently outward but steadily pushing for partitioning, confine, imprison. Everything imaginable seems to be available anywhere, but "real" places are hard to find, because everything is fictional. Its spaces do not allow an effective cognitive map, the pastiche of surface reflections baffle and submit us. Man-made spaces expanding, free of past and guilt. Generic City.
The pictures are taken at intersections, which to me represent the paradigm of urban life. They are spaces of confluence, and the ones in which we stop and observe the environment inside our car. They are also places that always gives the feeling that is about to happen something, because the tense calm before the traffic dynamism when the disk turns green. This has a double meaning here, as all locations presented have hosted Hollywood filming, pretending that the calm of the pictures is the prelude to a film frenzy, as if to press the shutter I say, action! and the whole city starts to act. In some locations such as Chinatown, in fact they were getting everything ready for an imminent filming. Los Angeles is a territory that ranges between fiction and reality, and does not know where one ends and the other begins.
With the stitching technique I have obtained large-format negatives, and referring back to ultra-HD and the hyperrealism of modern film, I've reframed them to fit the standard format used in the industry, creating panoramas. I have also removed all indications of place, street names or typefaces, leaving only the background colors of the posters and signs, underlining the postmodern, generic and global character (or characterless) of its spaces and architecture.