My ultimate purpose is the formal solution owed to the symbolism of the Italian Quattrocento with a considerable component of the oneiric surrealism, inspired by Salvador Dali and Hieronimus Bosch. The canvas becomes a theatrical stage fostering the encounters between the creatures of the unconscious, which turns out to weave a bizzare web of childish desires and the mysteries of the psyche. The artwork reveal romantic mirages, oneiric illusions, which involve the viewer in the drama happening within the boundaries of the picture frame. The presence of the architectural elements in the paintings is a homage to the theatrical composition of the landscapes by Canaletto and to the farther of the perspective - Piero della Francesca. The classical perspective as a milestone for the three dimentional vision is often overcome delicately, offering the subtle dimentions behind the thick matter. Time and space become one, and it’s not worth the effort trying to cover the clock with a piece of fabric as if it were a parrot’s cage. Nothing can keep silent the pendulum, even the infinite fabric woven by the mountain chains. The secret of the infinity is concealed in the present moment, in the silent contemplation of the immobilized gestures of the characters, whos stillness obeys the artist’s will.