Since 2017 Morucchio creates a series of digital works entitled Puzzling composed of thousands photographic “tiles” reproducing parts of the mosaic flooring of the Basilica of San Marco in Venice. The same tiles were used, randomly arranged by Morucchio, to create the flooring for the installation The Rape of Venice at Museum of Palazzo Mocenigo. Geometric, phytomorphic and zoomorphic motifs are repositioned and ordered to reinterpret a selection of paintings by masters of the past looking for a point of contact, an encounter with the great painting of the Renaissance in order to verify the existence of a relationship with art of the past. The “iconic” images from Renaissance painting, that are individuated by Morucchio, are then re-elaborated in a process of chromatic fragmentation which declares its identity; they become decomposed visions and they are restituted in fragile chipped elements, like pieces of memory that return after a deleterious explosion. The time and space of this restitution comes about all within the modern concept of the pixel, a elaboration tool of the sensitive data of the images. But the characteristics that govern this singular ars combinatoria are generated by the personal poetics of the artist who is able to fuse different concepts and arrange them into solutions and models of a rare aesthetic refinement. From Leonardo to Botticelli, from Giorgione to Titian which all enter into the halls of suggestions with an ideological slant, with the stereotype of already worn-out images of aesthetic consumerism, and thereby easily interpretatable by the larger public. Morucchio’s distinction lies is his ability to bring these references into a different type of interpretative philosophy which interrupts the temporal circle to open up towards the ever wider territories of modern language.