While Massimo Siragusa remains fascinated by the architecture of his native Italy, it is as much for its beauty as for its contradictions. In his view, no photograph can simply document or describe a place, its status as an image obviously includes an element of ambiguity and illusion. This is the dimension that enables him to share such different points of view and ideas. A photograph can therefore have several meanings, while contributing to the construction of the human conscience. Photographed from a sufficiently distanciated perspective, lit by bright and homogenous lighting, the architecture, gardens or public squares captured by the artist acquire a certain monumentality and sense of permanence. This is counterbalanced however by the suggestion of the presence of humans, who make these sites more lively, animated and colourful. A central concern for Siragusa, this almost systematic human presence enables us both to evaluate the scale of these vast spaces and to reveal the relationships that humans maintain with their environment.