ARTU' PLANET. Two pavid mountaineers in march toward the base camp of the Orcilla

Oil on canvas 125x125 cm. 1995

The picture illustrates one of the greatest natural spectacles on the planet, the vision of the Orcilla, a mountain whose summit overlooks every other peak.

Its aspect incute in the mountaineers a sort of awe bordering with fear, escaped from the consideration that on Arthur the physical displacement (better to say etheric or astral) happens with the force of the thought and therefore with immediacy and without any effort. But the two mountaineers intend to relive ancient anxieties of past existences cultivating the intent to repeat, in the reassuring condition offered by the planet, the difficulties of the terrestrial climbs. The two are therefore going to undertake the ascent without considering the advantages of their condition, and tasting therefore, in the difficulties of the ascent, the advantages of an invulnerable condition.

There is no doubt about the outcome, as well as the intimidating character of the vision that shows vertical walls of the mountain without handholds.

The painting illustrates the moment of the excellent vision of the mountain that offers shimmering and polished walls like precious stones emerging on the vast sea of fog, forms that do not exclude an elementary psychism, evident in the upper part that vaguely recalls entomological aspects.

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.