In conversation with artist Annibale Siconolfi
Annibale Siconolfi, known in the art world as Inward, is an Italian artist and architect renowned for his intricate depictions of dystopian cities and futuristic landscapes. His works are heavily influenced by his background in architecture, blending detailed 3D modeling with themes such as urban overpopulation, environmental decay, and the rise of technology.
Drawing inspiration from visionaries like Antonio Sant’Elia and Etienne Louis Boulée, Annibale Siconolfi explores the limitless possibilities of the digital world to create speculative environments that seem both eerily futuristic and grounded in the current realities of global challenges. His ability to balance architectural precision with creative freedom makes his art a unique reflection on the human impact on our planet.
Over the years, he has collaborated with notable figures, such as Grimes and Anyma, blending his futuristic visuals with music in immersive multimedia experiences. Through his work, Siconolfi invites us to consider both the possibilities and the perils of the future we are building.
We are simply over the moon to be able to interview Annibale Siconolfi, the Italian artist extraordinaire who has designed dystopian inspired work. Since you are also an architect, how did you come to bring such a discipline into a more imaginative realm?
In fact, it was precisely my studies in architecture that pushed me to address some of the recurring themes in my works. Coming from that world has allowed me to depict my visions in a detailed and realistic manner. In architecture, there is an entire current of visionaries who have only produced drawings, without realizing anything physical.
I am referring to masters such as Antonio Sant’Elia and Etienne Louis Boulée, whose ideas still influence various artistic movements today. For an architect, the virtual world is a tremendous stimulus for carrying out experiments that would be impossible or, at least, very difficult to achieve in reality. The possibilities for experimentation offered by the digital world today are truly limitless.
Tell us about your beginnings as an artist. Did you pursue architecture before artistry? What event pushed you into accessing your creative bones?
 I have always been deeply attracted to artistic experimentation, in fields ranging from sound design to visual arts. Certainly, my studies in architecture have greatly influenced my artistic journey, providing me with the scientific foundations of representation. A particularly significant event in terms of my passion for 3D art was the discovery of the works of Paul Chadeisson and the sci-fi creations of Beeple.
Until that moment, I had always used 3D modeling software for architectural visualization. Discovering these artists’ work inspired me to use the same programs in a more creative way, which led me to experiment with different styles and compositions until I arrived at the themes I now enjoy exploring the most.
The visuals you conjured up for clients like Grimes and Anyma have been a surreal sight to behold. What was it like working with such clients and tailoring your art towards a musical experience?
A few years ago, I was contacted by Grimes, who told me she loved my work. A few months later, she asked me to create something for her shows, which was a truly exciting experience, especially because I had a lot of creative freedom during the process. The approach with Anyma was different. Matteo contacted me saying he had a concept in mind for a track, and since it involved a city, he thought I would be the perfect fit for the role.
Therefore, it was a piece that needed to be synchronized with the music. I’ve always been fascinated by the parallels between sound and visuals, and having produced electronic music for many years, this project excited me immensely. Additionally, I was fortunate enough to attend one of the shows, and the effect on the giant LED screen was truly impressive.
The way you capture vast cityscapes is truly remarkable, there is detailed depth in every inch of an image. How do you go about constructing such a layered and realistic visual where it almost looks like you can find a bustling urban life?
What drives me to create these kinds of scenarios is the desire to depict a future world where urban saturation pervades every square meter of the land. It’s an extreme idea of overpopulation, which is opening up scenarios worthy of the best sci-fi stories. In addition to the composition, I love working on the details, as I believe they are what give realism to my scenes.
I try to give meaning and attention to every small part of my works. Indeed, this is how I envision the future: immense metropolitan areas where millions of elements intertwine in a chaotic, frenetic composition. I like to imagine how artists from the past, particularly the Futurists, might have represented the dynamism of today’s cities.
What growing pains did you experience to achieve the current point of your artistic expertise?
There were many challenges, from financial constraints to the sleepless nights spent experimenting. My university studies in architecture helped me greatly in this regard. There’s a certain rigidity in architecture academies, and the professors are well aware of the effort students must put in to complete a project in time for an exam. Yet, despite this, their expectations remain high.
An architectural project requires perfect execution of technical drawings as well as an in-depth study of functionality, infrastructure, and structural stability. As a result, students are forced to work day and night if they want to meet the final deadline. You get used to working on several aspects simultaneously, and especially to enduring long nights.
Can you explain the use of the human figure in your work? What is the significance of embedding a corporeal familiarity amongst dystopian elements?
 I love incorporating human figures in my works, and their meaning changes depending on the context. In some works, they are true humanoid deities to be revered, representing the technological power that dominates the future world, as if it were its god. In others, they take on infrastructural roles. In yet others, they are placed at the center of dense urban environments, where humanity seems almost non-existent, oppressed by these mega-structures. In this latter context, their function is to remind the viewer that behind all the chaos of the megalopolises, there is man and his planning—he is the cause of it all.
What sort of thoughts swirl in your mind as you are building these epic visuals?
I certainly enjoy capturing strong emotions that certain themes evoke in me. When I watch a composition gradually take shape and get closer to my original vision, something beautiful and satisfying stirs within me. I also always need to complement these sensations with the right music, and sometimes the music itself inspires the entire creative process, pushing me to take new directions during creation, such as a change in tone or scale.
If technology was so advanced that it allowed you to step into artwork, would you dare to step into one of yours? If so, which one and why?
Yes, I would love to enter my works, but as an observer. I certainly wouldn’t wish humanity to live in many of the scenarios I depict, particularly the more dystopian ones, as they were born from the desire to warn viewers about a possible bleak future for mankind. They serve as a sort of critique of our way of inhabiting planet Earth. However, there are some works, like “Modular Forest,” where I would truly love to experience the sensations of exploring a forest suspended kilometers above the ground, or walking across the suspended bridges on the rooftops of a city as in “Drive Me.”
Annibale Siconolfi: https://www.annibalesiconolfi.com/
