GEA’S LAW – 1987 – 150×120
Earth and life laws find each other in a painting that we can define a hunting scene, pointing out the primordial stadium of the term. Involving the lion and the bull in a struggle to survival, the Painter wanted to put the Gea’s law into effect, describing the life generating goddess in the most rooted pagan religious beliefs, whose teaching is assimilable to Lavoisier’s studies: nothing can be created or detroyed, only converted. Then the lion, symbol of fire, takes possession of the body of the bull, emblem of the earth, tearing it with jaws and legs made of beaks of coloured birds. The whole body of the raider is composed of its quarries’ bodies, birds spread along till their nest, in which a mother is feeding her babies, in the Painter’s imaginary this is the life circle outing. The nest is supported by branches and leaves, which composition of the bull consists in, too. Its tail remind us it is a fighter as it is made of a snake body, who is going to feed itself hunting the nest. In this creation scene there are butterflies on the background, they becomes fishes and then turtles, in a movement that is regulated by the natural law ruling the painting, reporting the third element: the water. The symbol of the air completes the circle, a hawk stands out in the sky even though it is bound to the actual scene, and it gives the sense of ethereal and fleeing of life, thanks to the light pictorial definition. The whole struggle rotates around a sunflower, whose petals hymn to fire, as it is the motor of the strength of nature, in a fertile dialogue with the generating goddess Gea.