Further along (Les Fauvettes), before a forest showing a dark impenetrability, a forgotten light box by the wayside awaits the arrival of an advertisement image or some important message. For now its form remains neutral. It embodies simultaneously an observant eye scrutinising everything around it, an unusual form of lighting, and a sculptural object.
Elsewhere (Endowment), a part of a lamppost, a few cables and the top of a tree rising up behind a series of signs indicate an urban setting, perhaps a tram stop. The translucent panels, illuminated from behind, highlight the effects produced by layers of torn posters, those relics of a typically metropolitan reality whose lacerated surfaces have the texture of a painting. These are all like so many clues indicating places where dreams, fantasies and stories take flight.
When Claudio Moser develops his work in large formats, he prefers to use inkjet printing rather than chemical processes to give his images their physical existence. Inkjet printing mixes shades directly on the paper yet leaves space between each tiny point of colour even when densely applied. These features have won the artist over; indeed he has chosen them here to awaken the pictorial qualities of the photograph.