Germano Pontevichi (b. 1961, Cremona) studied at the Liceo Classico in Cremona. In 1984 he obtained his academic diploma at the ISIA (Superior Institute for Artistic Industries) in Urbino. The following year, he joined the Condè Nast publishing house as a graphic de-signer. He worked for the magazines Vogue Italia, Vogue Gioiello, Per Lei and Per Lui. In 1995 he joined the publishing house Mondadori as graphic designer, in 1999 the publish-ing house Rizzoli and as art director for the magazine Io Donna. In 2001 he started work-ing at the publishing house Hearst Magazine Italia and as art director for the magazine Marie Claire. In 2020 he started working with the graphic studio XyComm in Milan. Past exhibitions include "L'arte si mostra" in 2018, in Rome, at Palazzo Ferrajoli; "NONSOLO-CARTA" in 2021 in Pietrasanta (Lucca) and in 2023 in Piacenza, at Spazio Rosso Tiziano. The technique of collage - both analogue and digital - has always fascinated Germano Pontevichi because with it he can open the doors to imaginative worlds in which anything is possible. Starting from this explosive potential in his analogue collages, he tries to con-struct new imagined realities using space and three-dimensionality. The use of the third dimension gives more consistency to his representations, in which he tries to visually communicate the themes that fascinate him most: correspondences, the sense of precariousness, the sense of balance and fragility, emotional dynamics that accompany us every day. What is important to him is to propose a visual journey that induces us to interpret images in a different way, freed from a mathematical reality. The work LE COR-RISPONDENZE (2021) shows the profiles of two young women facing each other, one has her eyes open and bright, the other, on the right, half-closed. In the centre of the collage, a hand holds a sort of pendulum hanging from a thin wire that, in constant motion, like a pendulum clock, attracts attention and hypnotises the eye. The whole is enclosed within a marble perspective architecture in green and pink, with an opening revealing a clear sky and a full moon. The work OVUNQUE TU SIA (2022), on the other hand, shows us an imaginary square shaped by four arms that start from the four corners and converge towards the centre. Our gaze is in fact directed by the four index fingers that all point towards it, as if to tell us where the person we are looking for might be. At the same time, however, the hands fail to touch each other, to find each other, leaving the viewer with the feeling that we have failed to find the person we are looking for. Finally, with SE NON AVESSI TE (2023), we have a diptych consisting of two crumpled origami showing two faces in black and white. The strength of this work is immense in its simplicity. In fact, the work is made up of two parts, without one the other could not exist in the same way, as happens when you are in a couple, and it is true love that you prefer.