In a vigorous attempt to find the essence of such visually fertile ground as lies in Venice… so as to explore its most organically basic codes, the symbolic elements of its language, the graphic clues that enable us to uncover the essence of a city that solidly emerges in the fluctuating waters of a lagoon… Peris attempts to capture a dream; shadowy transitions between both vertical and horizontal forms. He approaches them as two creative principles originating from one singularly Venetian paradigm; like arbitrarily opposing forces in the present-day Venetian life experience. Posts, people, bridges, canals, shadows, shimmering reflections, forms that are filled with empty spaces, draping fabric, even the verticality that crosses through horizontal planes, so reminiscent of what we see in La Assumpta by Titian. They now merge, intermingle and become indistinguishable in a oneness that is penetrated only by such stuff as dreams are made of.
As they take form, the subjects vault from the canvasses, overrunning the great halls. They break out of their frames to appear perching like flamboyant banners, or laundry hung out over the canals, while their reflections crystallize in the metal piping of the towering stacks of chairs in the plazas at nightfall.
And at the center of this tridimensional display, Peris attempts to capture the incandescence of a dream, an obsessively chimerical odyssey that confines him within close walls, propels him onto the waters of a dark canal toward a narrowly lit aperture at the end of the journey. Birth? Death? Verticality and horizontality.