PLANET ARTU' entropic dissolution of the forms and entities of the flower, enveloping cosmos and bangs of its curtains

99x164 cm. Oil on canvas. 2009   

The inspirational idea flanks this work with the painting Fortino nell'angolo del Tempo. Here are represented, in the central part, some effects of entropy (second law of thermodynamics): the fatal dissolution of everything due to the degradation of matter and energy.

In the center of the painting, in the light of a cosmic sunset, are represented forms no longer distinguishable because they are affected by the constant and irreversible tendency towards entropy, which implies the final thermal death of the universe. But the flower remains immutable (here intended as a vital principle, imperishable spiritual essence).

The cosmos surrounds the scene of the events depicted with a covering embrace like a curtain (top right). It is a cosmos holographically united to the represented scene, that is, reproducing itself in its totality and in every part, even microscopic. Where everything is connected with everything and enterprising, always conscious and here beneficial

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.