Claude Viallat sees his work as the result of an abrupt and radical break with traditional art. The painting need no longer convey a message, nor represent anything other than its own materiality: canvas, pigment and form. The aim is to get as close as possible to the true essence of the work and return to the fundamentals of painting, all without the use of a stretcher.

​By adopting the term "realism", he is referring to the 19th-century artistic and literary movement that aimed to depict, without idealizing, a common, everyday reality. However, this realism is described as "new", just as there is a New Novel or a cinematic New Wave: on the one hand, it explores an emerging reality arising from a consumer-driven urban society; on the other, its descriptive approach is also innovative, as it is no longer limited to the creation of an appropriate image, but relies on the presentation of the object chosen by the artist.

Francesco Marino Di Teana's research goes beyond mere formal research. It's really a question of renewing architectural design. Far from being utopian, his proposals and his attraction to the tower form are part of a desire to respond to urban planning issues linked to the demographic explosion. He thus positions himself as a forward-looking urban planner, whose creations are intended to "establish harmony between humans and everything that surrounds them". To achieve this, Marino Di Teana frees materials from their practical constraints. Steel, his material of choice, no longer imposes constraints of form, weight or material.

The resulting linearity of these works lends a lightness of touch, a vertical elevation that reinvents the architectural corpus we're used to dealing with.

"The two parts dialogue like two human beings to such an extent that you can imagine it's an architecture within an architecture. It's like the heart of a being within a being, living with each other in osmosis".