The surface of this work is a stratigraphy of silence. Cement, laid down in successive overlapping fields, builds a rough and dense topography in which one can discern — barely — the outlines of buildings, arches, horizontal structures evoking compressed and forgotten skylines. The dominant chromatic field is grey in all its variations: pearl, ash, slate, lead; and yet the canvas is not monotone. Small eruptions of cobalt blue, mineral ochre, a flash of carmine red trace the work's interior map, vital signals within an otherwise petrified landscape.

The composition unfolds through a precise internal architecture: a darker outer frame circumscribes the pictorial field like the threshold of a window or the edge of an ancient document, drawing the eye toward a central nucleus where matter thickens and rises into tactile relief. The lower portion of the canvas develops almost calligraphic horizontal sequences, suggesting roads, geological stratifications, lines of an eroded text.

Città Sommersa belongs to Bazzoni's inquiry into sedimented memory: the idea that every surface — urban or pictorial — is an archive of presences, a palimpsest in which the present does not erase the past but compresses it, transforms it into matter.