The buildings, unusual but not strange, seem perfectly built, although their meaning might elude us. Under closer inspection light seems unreal, the objects and the sky are drenched with unnatural colours, pointing to a new dimension of reality. And it is here where architectures are no longer among identifiable things, that we find the metaphysical sense, the secret of his poetry.

References to metaphysical painting are evident in the desire to capture a moment without time, where things and spaces are petrified forever. The use of false perspectives, a tribute to the Middle-ages, draws a parallel between Prina and ancient painting; hints to Sironi’s works from the twenties and early thirties may be found in the gradual removal of any decorative element, in the sense of emptiness and loneliness, highlighted by delicate colours and synthetic brushstrokes.