FIRST WORK

Indeterminate fragments of infinite finite universes ...

I began my research on existence through art by pointing to energy and matter as the main actors of the new direction.

Through this work, I intend to express my vision on a fraction of Existence by means of the "constant" one, also reported in the remaining works, identified with the word "key" that encompasses the whole or ... Transformation.

The first work, based on a 2005 sketch, illustrates some fractions of an "indeterminate" number of Universes different in form and content, connected to each other and "reborn" from the energy ashes of themselves.

If there is an after, it is because there was also a before.

The absence of one or the other would make no sense.

The single Universe explodes after its past rebirth in space-times devoid of that sense attributed by us.

Being reborn does not mean being what you were in the past.

The energy-matter is shaped by continuous space-time fluctuations capable of changing the rules of the game according to the contexts.

Can we really be sure that there is something absolute in a reality that is continually transforming itself?

In the eighteenth century, Antoine Laurent De Lavoisier asserted that in a chemical reaction, that is in nature, “NOTHING IS CREATED AND NOTHING IS DESTROYED, EVERYTHING IS TRANSFORMED”.

Today we have a more extensive law relating to the Energy Conservation Principle but the concept does not change and we are part of this world.

My Universes take energy from the canvas through painting but in many points they come out of it with the aim of "materializing" in space towards the observer, as if to involve them.

The painting-energy is interconnected with the sculpture-matter in a reciprocal relationship.

It contracts and then expands inside and outside the canvas.

At the points of contact between the two different realities, transparent, indefinite entities interpose themselves, through which the energy and the matter represented are reflected.

The painting on the horizontal plane has been interpreted as the palette of a painter who paints the energy of the Universe.

Nothing immutable, but only dynamics of finite fragments of the Universe in motion, to be understood as part of a Whole that transforms itself.

And we too, like the Universes, are indefinite dynamic parts of a whole that continually transforms its contours.

SECOND WORK

The life

Through writings and films, science has tried to express conjectures, often different, about the enormous mystery that is life.

Nonetheless, a work of art can communicate its own vision of Existence even if, obviously, with different forms and representations.

The novelty of the work is inherent in its "structuring".

The "matter of life", evolved in Time and suspended in space, is connected by means of some "umbilical cords" to the two painted planes by means of which the matter itself takes shape and consistency.

The vertical plane represents a part of the original cosmos from which our solar system, partially represented on the horizontal plane, took its energy as it is part of a whole.

Inside the two "energy" floors, suspended within our microworld and connected to the main sculpture, plant elements are represented, a portion of volcanic territory and our most precious asset, water, which has traveled so much in space to give us birth.

This work, in some ways, is deliberately descriptive since I believe that art must also be a means of communicating something universal.

It is in the medium of representation, then, that the artist must play his role of being unprecedented.

With this work I wanted to represent the most intimate contact of the essential "fusion" between our world and the mystery that surrounds us.

The energy of those worlds placed behind the canvas is projected onto the canvas and, from the latter, the journey of energy towards the structuring of a new material configuring the fragments of our world starts. And, as you know, without the fragments it is not possible to configure the drive.

THIRD WORK

Cosmic reshuffle

Who among us can say that we do not belong to a whole.

The third work of this collection, intent on treating the main and universal concepts that concern us as part of a whole, intends to focus on an aspect that I consider fundamental: “the existence of a true multidimensional frame”.

Our elementary particles are the same as those of plants, minerals and animals.

We are energy clouds in constant evolution and transformation into a whole that includes us.

It is the poetry of creation.

What greater harmony of a Universe that transforms itself.

From the hair of the “sculptural” woman present in this work, a cascade of painted water emerges, a source of life.

Its legs are fused with the torso of a material horse whose flesh it feeds itself on.

The horse eats the vegetable essence but, in turn, is eaten by the snake originating from the matter of creation as well as the entire composition.

The material mane of the lion gives rise to a painted bird whose feathers blend with the natural landscape and which, in turn, captures a prey in flight.

It is all a unitary succession of phases of existence expressed through its infinitesimal fractions.

In the background, starting from a point of singularity, there is the "alleged" our Big-Bang, intended as a unique event for us but not for the rest of our existence, where "I believe it is all a chase of new beginnings and new ends. 'interior of indeterminate Spaces-Times ".

FOURTH WORK

The "end" involves a new "beginning".

Through the following work, I intend to highlight an aspect of life that ends with the inevitable death.

Certainly death represents the end of a life in our dimension but, undoubtedly, its energy source will return to be part of a whole, before a new split.

Unfortunately, the tragic aspect of this merry-go-round is the moment of transition from one to the other dimensions.

The fourth work depicts the love of two young people who have reached the end of their lives, enclosed in the respective whirlpools of their bodies that de-materialize to project themselves into two distinct Regions of a fraction of the Progenitor Universe, represented by a painting.

The gift of life ceases.

Creation claims its belonging.

It is a moment of extreme, last pain, revealed through the face of the young man, sick and close to death, with his arm outstretched towards that of his beloved.

The young woman, interpreting that enormous pain that is also hers, winks a smile with the hope of making their last separation less painful.

The work intends to focus attention on two distinct, but interconnected, magnitudes.

On the one hand, the drama of detachment, on the other, the poetic harmonic and intimate relationship between man and creation that claims its paternity.

And what better interpretation can there be, of the matter that returns to belong to the energy of a whole.

There can be no matter without soul.

And, perhaps, in a time that will come but that is not known, the particles of the two young loves will merge with other entities capable of sharing the same feelings.

FIFTH WORK

Beyond the mirror

To get to know ourselves better in relation to a part of the external world that involves us, we need at least three tools.

The first is the external mirror, the physical one, which updates the passage of time on the reflected faces.

The second is the internal mirror, of an introspective nature, that of the soul, which indicates the physiological changes that make today different from tomorrow.

The third is represented by the eyes of the intellect.

The fifth work "merges" these three instruments into a single entity.

The face of the sculpture is projected towards the external painted mirror which, however, does not reflect its banal image.

It shows a figure that "flips" de-materializing, highlighting an "inside" that goes beyond the DNA to reach its smallest constituents, the particles.

Matter is closely connected to energy, within a broad vision how immense and interconnected is the connection between our thinking and the Universe.

A chain links the thought of man with the sidereal darkness that surrounds us.

Thought has no limits of Space, Time and speed.

Too bad, that despite the web of knowledge thrown into the sea of the unknown, we still don't know ourselves.

This work, highlighting the underlying internal complexity, intends to highlight this aspect.

SIXTH WORK

Alone in a Universe that transforms its own shadows

This work depicts a human figure identifiable as a man-woman "whole", to be understood as a single entity, leaning on a dark vertical plane, whose shades range from light gray to intense black.

As we move away from "our" world, the dark "tightens" its grip around us more and more.

The figure is connected to the canvas by means of umbilical cords that remind us of belonging.

In fact, belonging to a constantly evolving Creation does not allow us certain holds.

To concretize this thought, I intentionally projected "the human shadow" on the plane not dark, as it should be, but white and with a projection mirror opposite to the most obvious identifiable in our world.

Nothing strange in this case, since we are stretched beyond the limit of a curtain interfaced with a world capable of changing the rules of our game.

We cannot project ourselves into another dimension without changing ourselves.

Therefore, we respect our home called earth because, once its "borders" have been overcome, the sidereal distances that could separate us from other living beings are such as to make us alone in the Universe or, in any case, unable to belong to worlds different from ours. 

SEVENTH WORK

Dimensional steps

The seventh work perfectly illustrates the DNA of the new progenitor art, that is, the passage between dimensions governed by the primordial "soup" constituted by energy-matter.

Have you ever seen painting that, partly coming out of its two-dimensional plane, grasps the sculpture which, in turn, abandons its own three-dimensional dimension to enter the two-dimensional dimension of the first?

A painted female figure comes out of the picture to have it grab by a male figure who has accepted the rules of an impossible love, as long as he accepts the sacrifice of dematerializing to enter the pictorial dimension in which his beloved is real.

Obviously the opposite could happen.

In any case, the transition involves inevitable sacrifices.

Other figures configure the same condition of dimensional travelers and at the points of contact between the two dimensions there is a new transparent, thread-like, unknown dimension, within which to make the first two reflect.

In quantum physics, among the various theorizations regarding the "position" of our dimension, the idea of our two-dimensional existence along a brane arises.

It is as if we were holographic images projected into the surrounding space.

In my humble opinion, contemporary art closest to our times, beyond any typological current considered undoubtedly legitimate and fundamental for the purpose of a continuous search for unpublished messages, should "go out" from the confines of conventions to embrace the most great range of action conceived so far.

But be careful not to cut the contact with the past because there cannot be a present without a past as well as a future without a present.

EIGHTH WORK

Transparent dimensions that involve us

What do we know about the things that go through us all the time without being seen?

Most of our technological apparatus works by means of electromagnetic waves.

There are those far from us but also those too closely close that could, in a different way, interfere with the quantum particles inside us.

Without going into the danger or otherwise of the same, regardless of whether they are ionizing or not, if the waves "undulate" on invisible colored planes, our attitude towards them would be, at least, more cautious.

On the vertical canvas, an ensemble of "emitters" of electromagnetic fields projected on two bodies in an attitude of "legitimate" defense was represented.

The man tries to rebel against this flow of high-energy photons that "comes out" of the painting, assimilating it to his enemy and to the woman enclosed in herself and who tries to defend.

Through this work I intentionally wanted to exaggerate with the intensity of the CEM, even going so far as to "melt" the human matter at their point of contact, in an attempt to sensitize public opinion to a more careful use of these technologies.

Technology must be used wisely, as far as possible.

It is obvious that this extremization of the phenomenon wants to focus attention on a problem that is too often overlooked.

Do not be afraid to live near a river if you accept the right distance from it, clean up the obstacles that hinder the flow of water, do not cement and, perhaps, build the house with particular construction details. .

Similarly, we must not fear the "new", but not underestimate it during the period of its knowledge.

Common sense would want it.

NINTH WORK

Beyond the boundaries of hatred and indifference.

The vertical plane presents a fracture along its line of symmetry.

This line identifies two realities.

On the one hand, a pseudo-evolved contemporary civilization is stylistically represented, immersed in a fictitious "well-being" and full of logistical problems connected to its true nature.

Even this reality, like that of the emitters, is drawn with pencil as it originates from artificial structures destined to implode, sooner or later, under the weight of their own responsibilities.

In front of this portion of the floor there are two material figures representing a father with his son.

Both are immersed in a layer of rubble and debris from an anthropogenic situation no longer able to absorb their uncomfortable waste.

The father is lost is destitute like a vagabond, now a victim of the much vaunted civilized society.

The child, however, seeks a link with the other reality, the less "civilized" one placed behind the canvas but with still visible outlines.

He grabs the hand of another child placed behind the same transparent canvas but such as to show only its shadow.

Other shadows accompany the child.

The latter belong to that "ghost" people to which he belongs but which is imprisoned behind the same canvas.

People who want apparently better living conditions and who try to cross this side of the canvas, projecting themselves towards the presumed rich reality that, in large part, over the centuries, has evicted them from its territory.

Not before, however, having exploited it.

Close to these shadows of misery, some faces of ethnically different people are depicted but equal in one aspect, that of dignity.

Unfortunately, the "physiological" needs of "civilized" men have deprived them of much of their original pride, dominating them in order to exploit their wealth and in return offering them inevitable poverty.

A poverty that cannot be quantified with money alone.

The color that configures them drips.

Their outlines will become less and less recognizable because together with the color they lose their pride.

But if the erasing of the lines built with pencil is obvious, the loss of a color like oil becomes a tragedy which, due to its physico-chemical characteristic, should last for many and many centuries.

These drops of color fall on the decapitated heads of the exponents of other ancient populations united, unfortunately, by the same fate.

In this case, however, it is no longer the painting but the material that suffers the consequences.

In the latter case, I intentionally considered the material dimension because their condition as social groups, erroneously defined as archaic, identifies another, further dimension.

The work, in this way, fears the ghost of their possible cultural, spiritual, moral extinction.

The brotherhood of peoples should be as constant as their own physical and cultural interaction.

The supremacy of one people over another is not.

Homologation is poverty.

Be careful, however, because even "we" mere spectators are no longer able to establish which part of the canvas to belong to.

And, if we got out completely, the consequences would be unimaginable.

TENTH WORK

Existence is the daughter of nonexistence just as the end is nothing but a new beginning.

We have reached the heart of the work to which I am most fond of.

On the vertical plane, two different aspects of reality are represented.

On the one hand there are the disturbing natural elements of our landscape, consisting of the fire expelled from an active volcano and the whirlpools of water fed by a storm.

From some particles present in this scenario, a woman takes shape who, for a short time, crosses her own dimension to embrace her man who awaits her in the world of the living.

The work creates this continuity.

Even if for a fraction of time, the man finds his woman again.

Each man or woman can review their deceased love by following various paths.

I opened one of my own hoping that other people can meet again in it.

On the other side of the plane, the natural scenery changes but ... not the sense of communication.

In this other case we find the quiet and a young man no longer belonging to our dimension, materialized by the natural elements of the landscape that have allowed a momentary detachment to allow him to join his loved ones.

The family awaits him on the other side of the plane, in our earthly dimension, to send him an intimate greeting.

A little girl takes his legs that come out of the piano while a woman wraps him in her hair, as if to extend her embrace.

A boy weeps for him in the solitude of his pain while another figure, lying on his back and now in the vortex of death, begins to de-materialize becoming water in order to pass through that "dimensional gate" that demands it.

I think an artist shouldn't limit their search for harmony only within our five senses.

Harmony also exists outside of them which often generate shadow cones.

You just need to know how to illuminate it with the right light.

ELEVENTH WORK

The last equation of logic.

And we have come to an end.

With “the last equation of logic”, the cycle of works that contain the meaning of my research on existence closes.

The last work turns its gaze towards a hypothetical future that concerns us all.

And the thing is not the best.

While not entering into the anthropogenic reasons that led to this situation and of which the aforementioned climate changes represent only one aspect, even if of fundamental importance, the DNA of the work implicitly highlights them.

The vertical plane is divided into three different areas.

It identifies a sort of “irregular” triptych within which there are three human scenarios with a probable future.

Has an excessively apocalyptic or, perhaps, benevolent future for humanity been conceived?

Investigating the sum of the nefarious chronological events, scattered everywhere in increasing numbers, I do not think I have diverged much from what could happen.

And so the city implodes in itself also thanks to a little respected giant, the volcano.

While we cannot prevent his inevitable outbursts, it would at least be plausible not to take away his "oxygen" by means of a form of wild anthropization, not respectful of his territory.

The volcano, in a certain sense, purifies its territory, purifying it of those constructions that wise minds would have qualified as rubble even before their construction.

From this disastrous environment, an "anomalous" wave materializes and comes out of the painting to project itself into space.

It is a wave polluted by heavy metals, oil and its derivatives, impregnated, unfortunately, by the blood of the guilty and innocent who had to share the events.

Below, located on the right of the observer, a desert is depicted not of an original territorial configuration but produced by two linked causes.

The first is due to the desert of reason which often dwells in us.

The second is a consequence of the first as it is connected to the slow but inexorable process of desertification.

It is in the presence of a biblical scenario, with lots of sand and lots of sun on one side, while on the other too much bad water and a lack of pure oxygen.

One of the painted human figures, camouflaged with the sand, partially emerges from the painting "materializing" its need for water.

The water expelled from the upper floor is completely polluted but, in those cases ... it does not matter, a few fragments of life more.

Below, to the left of the usual observer, there is a corner of the underwater world.

From what?

A man, suffocated by the smog coming from his own world placed on his head, is immersed in the dirt, not only physical, but above all cultural, of one of the countless landfills present as far as the eye can see.

He attempts an escape from his world by trying to "tear" the canvas on which he is painted but ... one cannot escape from oneself without running into extreme consequences.

A logical projection on the near future?

We do our best not to find ourselves in front of the Last Equation of Logic.

Author Ciro Galeone