Adam in Italia, riflessi di luce, e un saluto a Gianfranco Pardi — una serie in corso nel 2022.

Adam in Italia:

“Bagno di ghiaccio a Livigno”, cm. 60 x 80, olio su tela.
“Memoria di Capri – la grotta azzurra”, 46 x 58 cm., olio su tela, 2021.

Un autoritratto di me che prendo il sole e ricordo il mio giro in barca all’interno della grotta azzurra.

«Bellagio — l’estate della mia rinascita », 50 x 60 cm., olio su tela, 2021.

“Papa volante / Papa imbronciato”, olio su tela, 50 x 50 cm.
“Il tessuto dell’uomo”, olio su tela, 55 x 46 cm.
“Secundo fluctus in Italia”, olio su tela, 50 x 50 cm.
“Al Blue Note – Milano”, cm. 50 x 50, olio su tela.

La morte: solitudine, buio e riflessi di luce:

« Morte e solitudine — Mors Vincit Omnia», olio su tela, 80 x 60 cm., 2021.
“La svolta” (un dipinto su due lati), 50 x 50 cm, olio su tela.
“La svolta” (un dipinto su due lati), 50 x 50 cm, olio su tela.

” La luce che si riflette sulle assi del pavimento della chiesa “, 40 x 40 cm., olio su tela.
” Luce danzante che si riflette attraverso le vetrate della chiesa “, 40 x 40 cm., olio su tela.
” Cambiamento climatico – La notte nelle Dolomiti”,, 50×50 cm., olio su tela.
«Primal», olio su tela, 30 x 30 cm.
«Il vortice», 40 x 40 cm., olio su tela.
“Il fantasma dello sciamano della Grotta di Fumane”, 65 x 90 cm., olio su tavla.

Saluto a Gianfranco Pardi che, come Leonardo Da Vinci, ha aperto gli occhi e il cuore degli italiani alla fusione della geometria applicata all’arte:

“”Notte bianca” / Quadrati bianchi”, 50 x 50 cm., olio su tela.
“Sfere nere”, 50 x 50 cm., olio su tela.
“”Essere e nulla” / Cornici intersecanti”, 40 x 40 cm., olio su tela.
“Milza”, 40 x 40 cm., olio su tela.
«La matrice di Da Vinci», 40 x 40 cm., olio su tela.

Des miroirs fêlés.

“Des miroirs fêlés”, un collage d’esquisses monotinte sépia à l’huile et au fusain sur toile, 50 x 50 cm, 2021.

Il peut être risqué de dire à certaines personnes que vous les aimez… vous pouvez risquer de les perdre, voire de vous perdre vous-même.

”COVID-19 — fini les bises à la pelle !”, oil on canvas, 60 x 50 cm., 2020, is a self-portrait of myself hesitating to kiss my own death skull, and is surrounded by a ring of blue roses. The blue roses symbolize the unattainable; here, an unfulfilled love-moment that is even too complicated to be described in words because our natural habit of performing the delicious bises à la pelle is abruptly stopped by the cold mental forewarning that “some doors should never be opened”. There is nothing to say, save perhaps “Oh, I almost forgot.” This is, indeed, a challenging conceptual and technical study and essay. The image of a person kissing a death skull is an age-old meme (if not a cliché). Here the twist is to play on the concept of The Picture of Dorian Gray, whereby the death skull is the mirrored image of my true Self — i.e. that part of me that always remains constant, regardless of the « accoutrements » of fashion, disposition, or aging. In the Age of COVID-19 a simple kiss on the cheek can become the shovel that digs our own grave… Indeed we must all face our own Death, with eyes open or shut. And yet Death finds meaning only against the background of Life, though measured in mere years or breaths. Just as Light has no significance without shadow or Darkness, we cannot live Life fully being afraid of Death. “On ne peut pas vivre en ayant peur de mourir … “
«Secundo fluctus» (Second Wave), 60 x 50 cm., oil on canvas, 2020. The theme of this self-portrait is the impossible dream that is never finally achieved — no matter how much success we or others may think we have achieved, the dissatisfaction is always there. That has been the plight of most artists throughout human history; and it is no less today — for artists, and for non-artists. The tremendous Saturn-influence enveloping us at this time insists upon the renewal of our dreams, our motives, our ways of seeing, acting, living … imposing a heavy reality check upon us all. It is not all negative from an overall perspective, but it takes a higher degree of ingenuity, creativity, and persistence in order to create the much-needed and long-overdue New Consciousness. This dark expressionist self-portrait entitled “Second Wave”, provides a subjective inside-looking-out acknowledgment of the present experience. The intention is to document the thick muddy gelé of fear + careful hopefulness that we are all enduring in this Winter of darkness. The observant viewer will note that the face is itself a mask, as is the masking Darkness.

Photo Booth … look inside of yourself.

Painting: Oil on canvas. “Photo booth”, 90 x 65 cm., oil on canvas is about the “old-style” selfie-taking … sitting in a photo booth and being photographed three times. I have attempted to duplicate the feeling of taking photos in a booth — all the same, yet slightly different — in order to capture the spontaneity, subjectivity and self-appraisal of The Moment. I also wanted to play with “graphics” in a painterly and semi-realistic way that explores the nakedNess of the experience of being trapped in a box, with little room or time to vary sitting position and expression.




The dark one
Lurks not in
The shadows,
And not amongst
Your friends
Or enemies.
Beware, for
His evil lies
Within you,
And eagerly
Awaits release
By descendents
Of Pandora.
Beware of
The road to
Inertia and ruin,
So carelessly
Littered with
Temptation and
The self-centered
And worshippers
Of false splendor
Can expect
Little more than
Yes. Beware
Of darkness ..
And beware
Of mirrors …
But most of all
Of the devil
That you are.

(Copyright Adam Donaldson Powell, excerpted from “The Magical Tarot”, “Collected poems and stories”, 2005.)


El Oscuro
no reside en las sombras,
ni entre tus amigos
o enemigos.
Sus mentiras malvadas
cerca de ti,
esperan a ser liberadas
por los descendientes de
Con no caer en el
camino hacia la inercia
y la ruindad,
O a ser atacado brutalmente
por la tentación y la
Los egoístas
y los adoradores
de falsos esplendores
pueden esperar
poco más que
Sí, hay que tener ojo
ante la oscuridad …
Y ojo con los
espejos …
Pero más que nada
Con el demonio
que eres tú.

(Copyright Adam Donaldson Powell, “Three-legged Waltz”, 2006, trad. de María Cristina Azcona, Argentina)


Still photo from Marina Abramovic’s film “The Scream”, republished with permission from Ekebergparken’s Scream Prosjekt / Marina Abramovic


Still photo from Marina Abramovic’s film “The Scream”, republished with permission from Ekebergparken’s Scream Prosjekt / Marina Abramovic


Still photo from Marina Abramovic’s film “The Scream”, republished with permission from Ekebergparken’s Scream Prosjekt / Marina Abramovic