The fifth work in the Landscape Painting series was created directly on the walls of one of the oldest mining sites in the Brembana Valley, in Dossena. Through an intense process of hand-painted lines and hatching, the three-dimensional quarry is visually flattened into a pictorial surface—echoing the visual language of 18th- and 19th-century engravings and landscape studies.

In a diametrically opposite approach to conventional trompe-l’œil, the intervention on the rock walls inside the mine creates a “reversed” illusion: instead of suggesting three-dimensionality through perspective, the painted lines and hatchings—reminiscent of traditional engraving techniques—compress the spatial depth of the quarry into a two-dimensional image.

This method does not simply depict the landscape; it enters and engages with it directly. The scale of the site becomes something to be measured, confronted, and transformed. The painted markings, applied directly to the rock, function as a monumental gesture that—although impermanent—visibly inscribes itself onto the geological surface. Over time, the image will gradually disappear under the influence of weather and atmospheric change.

By turning the mountain into a field of black lines on a white ground, the work deconstructs the tradition of landscape painting, exposing its internal contradictions and revealing how depictions of nature have long been shaped by idealization and anthropocentric viewpoints.

Ultimately, the intervention repositions the human presence within nature—not as something pre-human or external, but as a cultural construct shaped by historical evolution. A large-scale photograph of the site translates this ephemeral, site-specific action into a lasting image that serves both as documentation and as an autonomous work.