This painting is a tribute to the goddess of architecture. Anyone who knows the works and the treatise on architecture by Andrea Palladio will know that the title page of his "Four books of architecture" depicts the Queen Virtus which symbolizes the sum of the arts, knowledge and mental fatigue that the human being he developed and worked to build the great monuments that we can still admire today in our cities all over the world. (A curiosity is that the model portrayed is of Russian origin and bears the name of Regina.)
In my vision of Architecture I wanted to represent a goddess who personifies wisdom and "know-how"; superior qualities, conferred directly from Above, by the will of the Universal Creation represented by a flower with a Cosmic Eye in the center that extends downwards a large compass directly from the universe, and innumerable flying sheets that are collected in a Treatise on the right of the model. A phrase from Heraclitus appears on the book and in the meantime the elementary forms of the architectural discipline are created which, descending, are concretized on the earth giving rise to tangible architectures. The goddess makes herself the divine and at the same time human bearer of the superior wisdoms that are in the intellect, therefore she observes the observer in a statuary and static way, while holding the compass of geometry and the plumb line of stability in her hands.
At his left side is the square, the first tool used in architecture to trace angles and lines since the dawn of time.
Two mannequins in the presence of the goddess are in pose of presentation and reverence while in the foreground a blue ivy flower with five petals appears, placed in direct axiality with the Cosmic Flower (for this reason, the construction that forms the background to the composition is set right on the figure of the pentagon and therefore of the number five).
Furthermore, the blue flower reaffirms in an earthly way that mathematics and the perfection of geometry can be found above all in the nature that surrounds us and is placed at the crown of the Latin words of Vitruvius "Utility, Robustness and Beauty", which every architect knows perfectly.
On the left side of the painting is a poem by the philosopher Emerson, dedicated to the illusion of Maya.
This work, completed in July 2020, represents for me a fundamental step in this precise stage of my artistic and technical path, in which surreal works are being born that intend to bring an idea of metaphysics of the soul, in direct communion with the Spirituality.
