Carlo D’Orta (born in Florence in 1955) uses the camera to extract pictorial images from reality that often remain hidden from our view. His main subjects concern architectures, and his photographic art consists in the search for geometric abstraction through overlays, interweaving of architectural structures, and particular perspectives. The series exhibited at the Sala Fontana of Palazzo Esposizioni Roma are dedicated to this research and are titled Biocities, Geometric Still Lifes, Vibrations and Surreal Landscapes.

The series Biocities and Geometric Still Lifes draw inspiration from the abstract art of Piet Mondrian, Kazimir Malevich, El Lissitzky, as well as Mark Rothko and Peter Halley, from the photography of Franco Fontana and Lucien Hervé, and sometimes even from the metaphysical visions of Giorgio de Chirico. The series Vibrations and Surreal Landscapes are instead dedicated to a search for images of informal or surrealist abstraction. Here, the focus is on crystal windows and metal slabs that reflect, distorting them, the architectures all around, producing unpredictable games of shapes, lights, and colors, drawing deep inspiration also from the Futurism of Balla, Boccioni, Carrà, and Severini, and above all, from the visionary lesson of the Catalan architect Antoni Gaudí.

Large-format works by Carlo D’Orta are exhibited in important institutional venues, including the Congress Center of the Bank of Italy in Rome, the headquarters of the Bar Association at the Palace of Justice in Milan, the Chamber of Deputies, the Authority for Communications Guarantees, the Museum of the Central State Archive, EUR S.p.A and LUISS in Rome, the Consulate General of Italy in New York, the Italian Cultural Institutes in New York and Munich, the Order of Architects in Stuttgart, the Regional Council of Campania, and in many private collections in Italy and abroad.