The work belongs to a pictorial cycle whose name derives from the particular materials used and composed: papers made by hand according to ancient procedures and "painted" with pollen, raw clay and graphite. The collage that composes the visual structure through superimposed geometric patterns is the result of a thoughtful search for relationships between the parts, individual universes defined by the fertile matter of pure bee pollen and by the anthropological and poor matter of inert earth. Graphite as the primary element of the graphic sign that originates the expressive act, determines, by contaminating the earth in different quantitative proportions, the dialectic and the light-shadow metric, the cadence of mortal time. Pollen, through its own disseminative and fecundative nature, expresses the human yearning for the metaphysical dimension. The work is always the result of a concentration of thought that seeks inner accords as in the silent whisper of a prayer.
The work refers to the text "Ephesians 6: 10-20" because in the formal tension between inert matter and fecund matter, between living matter and dead matter, it recalls the inner struggle of man against the shadows of his own conscience, towards the aspiration to a purified stage in which one's soul is redeemed. The executive concentration, intense as in the concentration of a silent and profound prayer, aspires to dominate the ephemeral materials of pollen and earth, giving them pictorial dignity and compositional balance; also corresponds to a real physical struggle that tries to free itself from the weight of gravity to achieve a spiritual dimension.
Masters of painting such as Caravaggio and Rothko
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