Il Giardino della visione Painting

Eternal places and landscapes, those of the Valley, which every artist has approached with reverence, demand that the one who loved and cared for them so much is not forgotten, that this great love for a beauty capable of making one lose the 'soul. Thus Hardcastle is holy, or is confused with the land and landscape so loved, while the oxygen tank of culture and faith in beauty allows it to survive, entrusted to our care and the civil responsibility of each of us (The garden of vision, 2018). The timeless beauty of the Greek Temple arouses the desire to possess alien life forms, which also yearn to make it their own... Thus one of the elements most suited to the poetics of Alfonso Siracusa is inserted into our familiar archaeological landscape, the iconographic theme of the UFO, of the proverbial flying saucer, which the artist has continuously experimented with since the 1980s (Message from the Pleiades, 1994-95). Characteristic of the artist is the almost endemic appropriation of contemporary popular symbols linked to science fiction, only apparently aimed at pure intellectual entertainment, in reality the revealing result of a hidden and unusual reality, of which what Schopenhauer and the Vedas identified as the veil of Maya takes shape in the evolution of cultures, until it is transformed into the cinematic matrix of the Matrix, a deceptive reality but the only possibility of existence. The desired effect is humorous, bordering on kitsch. But science fiction is a serious thing, which has educated generations from the 1960s to today in imagination and research, often proving to be prophetic of an otherwise unimaginable future of negative utopias, through the genius of Isac Azimov, Philip K. Roth, producing cinematographic masterpieces that have asked us unusual existential questions about humanity, about time, about eternity, from 2001 A Space Odyssey, to Blade Runner, to the very popular Matrix trilogy.