From Van Eyck to Anish Kapoor, passing through Velasquez, Escher, Roy Lichtenstein and Michelangelo Pistoletto, mirrors have always been one of the most interesting themes of an art that can be considered - in a broad sense of the term - conceptual. Many of these artists have played on the fact that representations of reflective surfaces, however much they may give the impression, are not capable of truly mirroring.

The reflective spherical surface of Mirror is only a representation, but it brings the imitation of the reflection on two different levels. First of all, it is a strictly site-specific work. To be completed, the place where it will be exhibited must be established. In fact, a reflection of the surrounding environment is reproduced on the fake surface of the silk-screened sphere. The image, in addition to being the first experience that is created between the viewer and the work chronologically, also has the function of being a marker for an AR application developed for the purpose (an integral part of the work). By framing the image with the mobile phone, it is in fact possible to view a digital version of the sphere in 3D, completely immersed in the environment in which we find ourselves. In fact, the image has become a digital sculpture.

The image reflected in the digital version of Mirror therefore has a peculiarity: the viewer does not see himself but spectators who were exactly in that place before him, observing the work both with the naked eye and with the aid of devices. These "glimpses of the past" are in fact captured from time to time by the camera hidden inside the painting, which films viewers and uploads the videos online in order to make them usable from the app. A demonstration of how art can, through technology, allow the viewer to unfold the many dimensions enclosed in space and time.

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