ARTU' PLANET Large tree and energy flower
109x120 cm. Oil on canvas. 1996
At the center of the picture is the large tree (if commensurate with the small plants of normal Artusian proportions that are at the base), with energy flower that occupies the entire upper part of the tree. It is a plant of more subtle materiality than terrestrial plants (like every living form on the planet Gio, including the planet itself) and the flower represents and emphasizes this aspect, turning into real energy.
The other forms represented on the picture suffer a sort of "energetic influence" (in a positive sense), a shock that is evolutionary and ascending. In the upper part you can see a form of eye that symbolically expresses the "observation" by the cosmos, an intelligent cosmic presence of which the painting intends to emphasize the vitalizing value and the inertness to the whole.
The latest discoveries and consequent theories of quantum physics allude to a character that we could call holographic of the universe, because every smallest part would reproduce the whole (universe), in a mutual total connection.
THE REPRESENTED WORLDS The paintings recreate moments of life in the landscape of the (imaginary) planets Giò and Artù, planets both spiritually more evolved than Earth, characterized by a more "subtle" material aspect than ours, by a less heavy physical material.
Such spirituality not only has to do with the figuration of humanoid souls but rather includes elements of nature, trees, volcanoes, islands, which are a clear indication of autonomous intelligence.
The planet Giò, in its spiritual evolution is a step toward the very heightened planet Artù, but it is not an evil planet when compared to the good planet Artù. Its lower evolution allows me to adapt it to specifically "chiaroscuro" themes like pollution (which is quickly remedied with refrigerated containers), industrial districts (sufficiently ecological), etc. There are no wars. The number 1 painting, War, is set in a planet called "of earth" (reminiscent of our planet) never mentioned again. Situations with strong contrasts are found only in entities of lower evolution: elements of nature, mountains, islands, plants. In Giò, such entities as we know them immersed in the dream of matter, or (perhaps) in elementary psyche, finally awaken in the conscience and, at this stage of evolution can also lead to hostile behavior projecting up to war and terrorism, but considered by their implicit immaturity with distant irony.
The planet Arthur, because of its high evolution, does not illustrate somewhat disturbing issues but rather evolutionary aspects involved in a somewhat necessarily monotone expansion. There all of nature, consistent with the greater spiritual evolution of its "residents", participates in its events expressing sensitivity and empathy.
Both planets are placed beyond the confines of our reality, in a dimension that is a place of survival and destination after physical failure; the place to continue the evolutionary experience according to the esotericism of many religions, moreover evident in Christianity: "In my Father's house there are many abodes".
In that sense we can speak of the eschatological character of this painting.
