Logically organised perspectives recur in realistic arrangements, devoid of other authors’ tributes (Fior, as he stated himself during an interview for Fumettologica in June 2022, would prefer not to be self-referential, usually a common feature of the comic environments).
When reading again L’ora dei miraggi (2017), a partial but enlightening catalogue of the body of works by illustrator Manuele Fior (born in 1975 in Cesena from a Friulan family, who graduated in Venice and since then a wanderer travelling to Northern Europe, Paris, Berlin and back to Venice), we get the impression of flipping through an album where architecture projects are sketched in a lucid dream.
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