“Silent Architectures” are a suspension of time and space, where the outside world is perceived with amazement and estrangement.
The landscapes show a reality that apparently resembles the one we know. Industrial scenes, which are based on the artist's hometown, look empty and dilated. In these scenes the absence of life and absolute silence are dominant. (follows)
The buildings, unusual but not strange, seem perfectly built, although their meaning might elude us. Under closer inspection light seems unreal, the objects and the sky are drenched with unnatural colours, pointing to a new dimension of reality. And it is here where architectures are no longer among identifiable things, that we find the metaphysical sense, the secret of his poetry.
References to metaphysical painting are evident in the desire to capture a moment without time, where things and spaces are petrified forever. The use of false perspectives, a tribute to the Middle-ages, draws a parallel between Prina and ancient painting; hints to Sironi’s works from the twenties and early thirties may be found in the gradual removal of any decorative element, in the sense of emptiness and loneliness, highlighted by delicate colours and synthetic brushstrokes.
These works are like short stories, rich in alchemical symbols recovered from the past, assembled in timeless architecture, from which you perceive the sound of silence and the ineluctability which is typical of dreams. The recovery of the past is connected to the contemporary vein in the artist, who calls himself “post antique”, as Aldo Rossi, the famous architect, did before him. From Rossi, Prina inherits the devotion to geometry and memory.