In the Imaginary Lake

In the Marine and Lakes series, I often placed two paintings in contrast, so that they could be better understood. Essentially, if I had painted circles of different colors falling along a white wall, it would be difficult for me to understand what they were. However, if I showed another painting with the same circles hanging neatly on a nail on the wall, then it would be easy to immediately convey the meaning.
In the Sun and The Sea express the tranquility of a vacation enjoyed in total immersion in a captivating and peaceful natural setting. Restlessness at the End of the Vacation and Holidays and Sun at the End express an absence, a void for something precious that, in the previous painting, we enjoyed and that now seems lost, or rather, just a memory.
In the Imaginary Lake, however, two contrasting elements coexist: on the one hand, an evocative nature that protects and heals the family, and on the other, the fear of the breaking of sacred bonds, which triggers the emergence and dreamlike formation of the first element. Geometric perspective is almost absent, and the straight lines evoke unease and the overlapping of less important and distracting elements, allowing the atmospheric perspective to draw attention to the center of the composition, where the water embraces, regenerates, and heals the family, as in the Baptism it symbolizes.
The marginally metaphysical aspect is generated by a contrasting real situation relived in memory and not by the insertion of objects out of context as in De Chirico's metaphysics.
We find ourselves in Metarealism, in a metaphor that arises from the feeling of love for nature and family and the fear of losing them.
An invitation to uphold the fundamental values ​​of nature and family in creation.

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