My artistic practice is interdisciplinary. Through printmaking, photography, and 3D modeling, I explore how landscapes, particularly in urban areas, transform in form and meaning. I also explore how these transformations, whether rapid or slow, affect how people inhabit their surroundings.

Through the collection, deconstruction, and reassembly of images, I aim to free space from its apparent fixity, opening it up to new possibilities and ways of seeing and perceiving reality.

The starting point of my research is almost always an area with an everyday life of its own. Often, these are places I pass through regularly that, over time, begin to draw my attention because of their context, structure, or the traces of history they carry within them. At other times, it is the function of a place that captures my interest a logistics hub, a commercial district, or a factory which then becomes the foundation for my exploration.

My process begins with the collection of images, photographs, maps, and aerial views obtained through specialized software (GIS applications). I then rework these materials through photogrammetry and subsequently with 3D modeling software. After this digital elaboration, the landscape is "exploded," transformed into an autonomous structure. It is no longer a recognizable representation but an image that generates questions and opens new interpretations.

The choice of materials also plays a central role in my work. Cut-out plexiglass, PVC sheets, and other transparent or semi-transparent supports are selected depending on the message I wish to convey. This choice is never accidental. The fragility and instability suggested by these materials enrich the research and experimentation process, adding fluidity to the works and keeping the message partially veiled, quieter. In this way, I encourage viewers to approach my work attentively, resisting the tendency to take what they see for granted.

My research draws on the ideas of authors such as Mark Fisher (Capitalist Realism), Guy Debord and the Situationists, Michael Jakob (What Is Landscape?), Franco Farinelli (Geography), Gilles Clément (Manifeste du Tiers paysage), and Hakim Bey (The Temporary Autonomous Zone). At the same time, the influence of artists such as Gianni Colombo, Antonio Calderara, Dan Flavin, Robert Irwin, Gordon Matta-Clark, and Carol Rhodes has shaped my approach to space, perception, light, and the idea of transformation.

Over time, my practice has evolved from static, graphic images to complex, layered visual forms. It has become fully interdisciplinary, with printmaking techniques both analog and digital interacting with video, sound, and tangible spatial elements. This shifts the focus from representation to message, creating a more immersive experience. The images become objects, breaking free from their traditional form and inviting viewers to inhabit them from multiple perspectives.

Throughout the process, from early research stages to the final output, I use the landscape as a conceptual bridge capable of connecting themes such as geography, politics, memory, and possibility, while maintaining a focus on transformation. My goal is to create spaces of doubt and reflection that question how urban territories are designated for a particular function and controlled. Instead, I seek to imagine new ways of understanding and expanding our lived realities.




Valerio Cerasani lives and works in Berlin. Born in Gallarate (IT) in 1990.