MARY OF HEBRON

A new version of the Mother of Jesus, dressed as a woman from Hebron, the city of many massacres, including that of August 24, 1929, in which 67 Jews were killed and 58 wounded, and that of February 25, 1994, in which 29 Palestinians at prayer were slaughtered and 125 wounded. On the black sides, a fragment of the Koran can be seen on the left and one from the Bible on the right. Religions divide, faith unites.

Preface
Industrialization has led art towards a worrying standardization.
When the essence of love is not reflected in human products, the risk is that of moving inexorably towards the celebration of possession.
The sense of having is found everywhere: at home, on the street, and even in artificial nature.
We think we are free, but instead we are slaves, in a cage that grows out of all proportion to our voracious needs.
Certainly, the current times of a globalized world lead us to submit to the harsh and subtle laws of the market, but up to what limit?

Art is the original seed of culture, and culture is the foundation of civilization. A people without art is a barbaric people, with a horizon of pain and war.
Today we are living at the beginning of a period of great change, and as all change can be positive or negative, we must know how to channel it. Excessive materialism has led us into a desert of concrete and circuits, where only machines are comfortable. The fundamental difference between humans and machines is the soul, and therefore we must work for it.
Metaeicon's main objective is to give man a mirror for his own soul, in which to reflect and be reflected, to recognize and rediscover his Human Being.
Every feature, every color, every shape, will aim at this: to put Man back in contact with other men, with nature and with those who created them, rediscovering the Alliance of the past.
Metaeicon, like a mirror, will attempt to create a clarifying and revealing comparison between Being and Having, between deception and truth, between victims and executioners.
The analogy of the icon with the mirror is among the most apt, because it represents a singular experience of interiorization and the best tool for knowing oneself, allowing one to see beyond matter. Therefore, a good key to understanding the works of the "Metaeicon" might be this phrase: "Recognize thyself."

LITURGY AND EPICLESIS OF THE METAICONA

Liturgy derives from the Greek Leiton (popular, public) and érgon (work)
Epiclesis from epiclesis meaning invocation, call to the Divinity.

Metaeicon, beyond the icon (from the Greek eikon, image). The icon originated in the East (Palestine, Syria, Egypt, Byzantium, etc.) and was an object of veneration since the first drawings were attributed to St. Luke, and thus were defined as acheropite, meaning not made by human hand.
The classical icon, in its apparent simplicity, leaves nothing to chance, from the shape to the materials used, everything serves the final work which, although starting from a predefined model, leads to ever new and supernatural results.
Without delving too deeply into the complex world of iconography, this preface provides some useful reading tools.
Spirituality, the proportions of the sacred numbers, and the recess in the central body to protect the image are the three pillars from which I began to construct my works. Although everything was clear in my mind, something paralyzed me: the risk of reproducing the sacred icon, which by its very nature could not be changed. So I did what an Orthodox monk does before painting: I prayed, and immediately afterward I opened the Bible at random. The passage that scrolled quickly before my eyes, just as quickly, provided the answers to the thousand doubts that had plagued me up until that moment.
It was two in the morning on June 3, 2003, the night Metaeicon was born.

Inspiring Biblical Theme - The Prophets: Jeremiah 7:8

2. ORACLES PRONOUNCED ESPECIALLY IN THE TIME OF JEHOVAH
(The biblical passage that inspired the theme of the portal)

The true cult
a) The attack on the temple

This is the word that came to Jeremiah from the Lord: "Stand in the gate of the house of the Lord, and proclaim there this word, saying: Hear the word of the Lord, all you of Judah who enter these gates to worship the Lord. Thus says the Lord of hosts, the God of Israel: Amend your ways and your doings, and I will cause you to dwell in this place. Therefore do not trust in the lying words of those who say, 'This is the temple of the Lord, this is the temple of the Lord, this is the temple of the Lord.'
For if you truly amend your ways and your doings, if you truly execute justice between one man and his adversary, if you do not oppress the stranger, the fatherless, and the widow, if you do not shed innocent blood in this place, and if you do not follow other gods to your own harm, then I will cause you to dwell in this place...

Matter and space

The main materials used are iron, natural color, digital color and crystal.
The iron gate represents the diaphragm, the shield, the screen erected to defend the central chromatic element. It is the door to the temple of Jeremiah's words, the point of departure and arrival, the diaphragm that divides good from evil, the space where lies, hatred, arrogance, sin, and all the wickedness of the human race are blocked.

In some works, there is also a space dedicated to indifference: the "windows." A place where those who neither see nor hear are reflected, those who have never heard the Aramaic word "Efftà." They are those who have turned their gaze away from the Light, shifting it toward the mirror that reflects only their distorted image. The monochromatic images in this section of the work are caged between two burnished glass panes to create a semi-mirror area. The semi-mirror serves to blend the viewer's image with the rest of the work.

The heart of the work, the part designed and conceived to focus the gaze and centralize the spirit, is the central portion, the only one worthy of containing color. The iconized message enclosed and protected by the "Temple Door" is the space dedicated to the unwitting victims, who also represent the last hope of humanity. They are all those men, women, and children who cannot understand why they are at the center of hatred and exploitation. They are all those poor beings who can no longer dream because they are too busy trying to survive. They are all those who have forgotten they have a brain, because marketing and pollsters have stolen it from them. They are all those who unconsciously elect and praise their own tormentors.

LOGIC OF PROPORTIONS
The construction logic and proportions are those used for sacred icons. The 4:3 ratio and the recessed central section of the work to protect it are the most obvious aesthetic references. If in the iconoclastic period, this recess was a device to protect the sacred image from external agents, in the Metaeicon it becomes a shield.
Another important element that requires some clarification is the relationship between the 4:3 ratio of the sacred numbers of the icon and the 4:3 ratio of the television format.
Television, too, is composed of a black frame and a colored content, but as in a game of negative/positive, the logic of the two parts is reversed: that is, the portal (black frame) is actually devoid of negativity, being merely a support, while the central element (icon) is the negative instrument. Indeed, television, today more than ever, is sought after by false prophets to propagate false ideals; therefore, the color and care taken in the packaging of its programs tend primarily to manipulate minds, not to spread positive messages.

THE DIGITAL
The digital color used by the pixels is also of a numerical nature and this is the basis of the technical idea used to express the contents of the Metaeicon.
The process used to generate the central chromatic section is in itself both a sign and an antidote. A sign, because it represents the most precious area of ​​the work, and an antidote, because it is derived from the same "digital germ" (pixel) as television.
The digital transfer of the central chromatic section is imprinted onto the iron plate by fire. The resulting surface is then further treated with oil paint.
The whole thing is actually a living work, as the materials used are, by their very nature, in constant metamorphosis, due to the oxidation of the metal. It's a bit like painting over time.
This last aspect also contrasts with the reality of pixels, which, belonging to the world of numbers, are considered eternal and immutable. Instead, Metaeicon seeks to "humanize" the digital world by giving it the ability to "evolve naturally."

The final act that seals the end of the work is represented by rigid and oblique chromatic signs (as if inflicted by a whip) that, crossing the entire work without touching the central part, symbolize the signs of man's blind violence towards himself.

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