Observing the landscape is a learning process that goes beyond the casualness of what presents itself to our eyes as the reality of the senses, there is a layer of consciousness that is built as an experience of a symbolic and mythical nature that has been created over time. our relationship with the cosmos.

The images are parts of a whole that is built from this relationship, which even when they seem to make no sense, represent a "cosmogony" between the individual and the universal.

In ancestral cultures, the elements of nature had a cosmic dimension and symbolized the way in which the creative forces shaped reality, this intuitive understanding was directly applied in everyday life and was a reflection of the balance between the visible and the hidden. This reading of proximity to the natural state allowed a holistic understanding of life by exploring deep states of consciousness that, through rituals and magic formulas, established bridges with the invisible forces, which were believed to dominate the destiny of men.

In an era marked by technological progress, nature ceased to represent the stage of existential doubts to become a "State of Divergence" in rupture with human activity. The practical view overcame the cosmological view, and systematic analysis obscured a holistic approach to the world. In this context, the landscape theme takes on new contours since, like the pendulum of a large clock, it swings from side to side trying to reconcile elements that seem irreducible. The need to observe and understand reality while preserving its essence collides with scientific methods of dissecting and dividing it into parts in order to better understand it.

The concept inherent to the construction of the work is that nature only maintains its original essence when it remains untouched. The world, as it is, is definitely hidden from our eyes because when we observe it, we are already creating a new reality. In this perspective, all works start from the concept that any representation of nature is an integrated vision that brings together more than simple images, it aggregates fragments of a timelessness and a perception without barriers that can refer both to geography and to the impact of the footprint. human life or even the condition of the observer in the face of the risk of civilizational collapse.

Wanting to represent the visible and the invisible at the same time requires a simplification process that consists of accepting that a small part can contain comprehensive information about the whole. That is why the natural and random selection that the senses perform is assumed in the work as a possibility of reconstructing a combined state and not a description of what is supposed to be there. The uncertainty of creation overrides the certainty of dogma, opening up perspectives in the way of seeing and thinking beyond reason and functional Cartesianism, which claims to have a solution for everything but which has proved to be ineffective in finding a balance point.

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The passing of the years has the merit of providing a reasonable basis for a work and thus clarifying the point of view of those who intend to unequivocally reveal the feelings of being alive and revealing in an open space what is normally wanted to be closed inwardly. The journey that develops in mapping the relationship between the "I" and the "world" is based on the fact that, as Jorge Luís Borges said, the elaboration of the landscape is another form of self-portrait since what is represented comes imprinted with the contours of someone who has observed the world and seen a reflection of himself in it, individual nature is mirrored outwards and consciousness elaborates this wonderful work of balancing worlds so divergent between what is timeless and has existed since the beginning of time and what is born now and has but a breath of time to manifest.

All this work, in its different facets, is based on the idea of exploring and learning from reality. All experiences somehow fed into the matrix of creation. The work is an act of continuous sedimentation, layers upon layers. Contrary to what seems obvious, adding can be a metaphor for an archeology of ideas in which one searches deeper and deeper for the meaning of things, even knowing that intuitively the creative process implies an inversion of values and what is considered to be the result of digging, don't be a subtraction but a big sum of little things.

Although one can theorize about the "how" it does not mean that one knows the "why". The reason only reaches the fact that it is necessary to advance step by step, so that the path reveals itself.

The need to make sense of things goes against the desire to "not decipher" what is actually happening, this logic is built from the inside out and the identity must start from the very nature of the manufactured thing. It is not worth calling a spade a spade since here it is not the word that counts but nature itself. The process excels in its sinuosity and is not always intelligible, but sooner or later it gives its results, even when the work seems to have reached a dead end, as the author mentions:

“One way or another, the road will be covered. This circumstantial difficulty of the moment is only an apparent impossibility. There are no failed acts, what happens is the need to make time pass, another time. The canvases that didn’t work at a certain point are there waiting for their moment.”