ARTU' PLANET. The cry. Rescue of emigrants from Gio in the Artusian sea. Empathic cry: "Make haste".

110,2x188 cm. Oil on canvas. 2015

A cry rises up: "Hurry!". Here it is intended to give visual expression to the natural impulse of the soul: the need to rescue the shipwrecked man in the water. On the planet Giò emotions tend to acquire visibility and, inserting themselves in the empathic landscape, give rise to manifestations similar to the dominant one at the center of the picture: a face dramatically contracted in an excited alarm. This figure should therefore not be understood as a real character but - in that context - as the expression, optically perceptible in the empathic landscape, of a dominant and shared state of mind, the result of great emotional agitation. But on the planet Giò this appears little justified. In its waters no one can really drown; only an anguished agitation can occur for an impending danger, unfounded because it arises only from distant terrestrial memories. Those shipwrecked people must only learn to use the realizing force of their mind imagining the rescue that will promptly follow their thoughts, while salvation is never in question because it comes directly from their invulnerability. 

"Tragic shipwreck failed", will ironically titled (the following day) the newspapers, aware that the planet Arthur is in the destiny of all and impatience is not a virtue 

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.