LABYRINTH

In Labyrinth, the image seems to take shape before the gaze. Wide stretches of canvas remain open alongside areas of intense density, where bodies, nature, and angelic figures emerge, overlap, and disappear.

The composition renounces any single viewpoint capable of encompassing it: looking requires moving through it, losing one’s bearings and finding them again. The labyrinth is not represented; it happens in the act of looking.

The labyrinth is also present in the research that underpins the work. The Christian angelic hierarchy and the Tree of Life belong to different traditions, yet they share an ancient desire to order the invisible. This painting returns to that quest, not to reconstruct a system, but to explore its relationships. Between bodies, ranks, color, and geometry, correspondences multiply until the very attempt to find an order turns into a labyrinth.

The pictorial construction extends this tension. Bare canvas coexists with accumulation; the organic proliferates while geometry emerges as a principle of order. The image oscillates between appearance and dissolution, matter and structure, rehearsing ways of making visible that which resists a definitive form.

Within The Path, understanding does not mean grasping the whole, but moving forward among relationships, recognizing structures, and accepting what remains unresolved.