It comes from the abstraction of the European avant-garde, its formal research, the myth of modernity and the need to express oneself in a way that is sometimes completely unexpected and shocking.
The artworks echo propositions on the image level, which is interpreted as a space for simplified geometric compositions. Some of the layered, tone-on-tone designs are deeply inspired by the work of Paul Klee or in dialogue with the spirit of Vladimir Tatlin and Piet Mondrian.
The five protagonists of this track quickly lose any illusionistic quality, transforming into ‘spatial modulations’; the shapes begin to take on the appearance of flattened boxes on a 2D surface, embellished by patterns.
The geometric abstractionism of the 20th century, with its shapes combined in compositions on unreal spaces, inspires the second track of The Daydreamer.
Born as a reaction to the excessive subjectivity of the plastic artists of previous times, geometric abstraction tried to distance itself from the ‘purely emotional’, drawing attention to the radical and two-dimensional plasticity of painting as an artistic medium.
In this sense, it represents a solution to the need to reject the illusionistic practices of the past, confronting instead the intrinsically two-dimensional nature of the pictorial plane and of canvas as a support.
The graphic designs of the posters, the covers of some of the most famous records in the history of Rock music, a psychedelic and colourful world born in the 70s, these are the backgrounds to this track.
These wallpapers capture the magic of that iconic decade, in which the use of colour in design was the main distinctive feature, with extravagant expressions involving music, fashion, and art.
Lacquered, gilded, inlaid, in wood, silk, or paper, room dividers were often decorated with beautiful works of art that portrayed mythological themes, scenes of life in the palace, and natural landscapes.
These wallpapers are inspired by room dividers, which used to separate two environments in ancient houses, particularly in the East, and was used not only for practical purposes, but also for decoration. In Chinese literature, these objects gave a sense of privacy, romance, and intrigue.
These wallpapers, just like room dividers, modify the perception of space, giving new perspectives and mystery.
What is better than a flower to remind us of what beauty really is?
Among the most represented natural subjects in history as a symbol of harmony and delicacy, flowers have often taken on a profound, sacred, and inspired connotation. Track five draws inspiration from floral decoration in art.
Here we find shapes and colours that, through light, opulent, and hyper-feminine superimpositions, transform in order to update the narrative. An explosion of shades of red and dust in a play of distinct colours.
In Japan, everything has its own model, and the shape of an idea or action counts as much as the content.
Creating a pattern means discovering a structure and repeating it through created shapes that always assume an archetype.
Nature itself is often the original model in the purity of the Japanese composition. Its shapes are faithfully repeated everywhere, giving consistency to the appearance of waves, colour, and zoomorphic elements, in which the pattern prevails, making the view more coherent. This way, chaos is defeated and the cleanliness of the stroke prevails.
The irreverent and desecrating soul of the collection. Tropical elements, exotic animals, and warm colours that at times contain a traditional spirit revisited with a Pop and deliberately macro reinterpretation.
A fantastic and instinctive journey, populated by new shapes; radiated with sensuality, capable of absorbing everything, to the point of blurring the boundaries between foreground and background.
The wallpapers of this track have a powerful expressive language dedicated to the primitive forces of existence in a rich palette of greens and yellows, interrupted by the lively tone of the warmest shades.