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BERLIN

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.