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η αθάνατος αλήθεια (the immortal truth)
On the wall pictures of Pompei (I century A.D), images were painted onto red walls: those images were extremely clear and sharp, with classic clearness. In drawings or paintings an image is intensified to give the illusion of truth, even if it doesn’t depend on a real sensation or an emotion experienced from the reality. The bright touches of light haven’t got any reference to the real light, they are brush strokes to illuminate images and things. In Fayum’s portrait (I-II century A.D., almost contemporary to Pompei’s pictures – Fayum is an Egyptian town) features of painted faces are specified to evoke the real aspect: people are painted almost frontally, with big eyes to underline better the idea of life.
Between the end of the VII and that of the VI century B.C., the first philosophical school is born in Greece. In Mileto’s Ionic colony, the will to share common scientific and intellectual principles comes to life. Ionic thinkers studying Nature identify Its search with the “Principle”, that is, the element all things (and their “essence”) started from.
This search is extremely important: it expresses the need to go beyond the multiplicity and the continuous “becoming” of things perceived by our senses and the will to look for something (inside the unity of Nature) that can explain that multiplicity and that change. Here is certainly the original ideal of the scientific and philosophical mentality.
Melting these two ancient expressions of knowledge and human expression, I painted a fresco, “ancient” in style and structure, on a support previously prepared with almost rough masonry. On a red Pompeian wall there are two women’s clear shapes: behind them there is a window onto an immense starry sky. The moon, pure and owner of the sky, brightly illuminates the two women. They are two free minds: one holds a sort of notebook and a pen, symbols of culture, the other one has got a glass sphere (such shape reminds us of the moon), “element” of the strict relationship between us and the infinite cosmos (principle of Nature), from which everything started and where we are mirrored. The immortal truth, handed down by the ancient knowledge, has been sleeping for centuries until the rediscovery of the importance of the search for the essence of everything. In the women’s eyes, ancient and always new, there is the lunar light: their glances will be given as presents to all those who will understand that that “element” of immortal agreement is and will always be the truth, product of the free search and knowledge of the human thought.
Dimensions 50 x 70
Technique: fresco (support prepared with rough masonry)
On the wall pictures of Pompei (I century A.D), images were painted onto red walls: those images were extremely clear and sharp, with classic clearness. In drawings or paintings an image is intensified to give the illusion of truth, even if it doesn’t depend on a real sensation or an emotion experienced from the reality. The bright touches of light haven’t got any reference to the real light, they are brush strokes to illuminate images and things. In Fayum’s portrait (I-II century A.D., almost contemporary to Pompei’s pictures – Fayum is an Egyptian town) features of painted faces are specified to evoke the real aspect: people are painted almost frontally, with big eyes to underline better the idea of life.
Between the end of the VII and that of the VI century B.C., the first philosophical school is born in Greece. In Mileto’s Ionic colony, the will to share common scientific and intellectual principles comes to life. Ionic thinkers studying Nature identify Its search with the “Principle”, that is, the element all things (and their “essence”) started from.
This search is extremely important: it expresses the need to go beyond the multiplicity and the continuous “becoming” of things perceived by our senses and the will to look for something (inside the unity of Nature) that can explain that multiplicity and that change. Here is certainly the original ideal of the scientific and philosophical mentality.
Melting these two ancient expressions of knowledge and human expression, I painted a fresco, “ancient” in style and structure, on a support previously prepared with almost rough masonry. On a red Pompeian wall there are two women’s clear shapes: behind them there is a window onto an immense starry sky. The moon, pure and owner of the sky, brightly illuminates the two women. They are two free minds: one holds a sort of notebook and a pen, symbols of culture, the other one has got a glass sphere (such shape reminds us of the moon), “element” of the strict relationship between us and the infinite cosmos (principle of Nature), from which everything started and where we are mirrored. The immortal truth, handed down by the ancient knowledge, has been sleeping for centuries until the rediscovery of the importance of the search for the essence of everything. In the women’s eyes, ancient and always new, there is the lunar light: their glances will be given as presents to all those who will understand that that “element” of immortal agreement is and will always be the truth, product of the free search and knowledge of the human thought.
Dimensions 50 x 70
Technique: fresco (support prepared with rough masonry)