Italy

Cristiano De Gaetano

Cristiano De Gaetano

*Brothers*,  2010&#x20;

oil on wooden shape

42,5x30x0,8 cm | 16¾11¾x0¼ inches   &#x20;

UNQUE


Milano

The Flat - Massimo Carasi

Painting

Brothers

Paolo Cavinato

Paolo CAVINATO,  Waves, 2023                                                                                                   &#x20;

Enamel and acrylic on fluorocarbon thread, frame in wood and glossy black laminate, internal frames in lacquered wood and steel, painted aluminum background, Museum Glass &#x20;

107,5x81,5x8 cm | 42¼x31¾x3¼ inches&#x20;

UNIQUE   &#x20;


Waves

Stefano Caimi

Stefano Caimi

*Phytosynthesis - Buddleja Davidii Franch*, 2022

Custom software, inkjet fine art print on cotton paper, bleached Toulipier wooden frame, museum glass&#x20;

110 x 85 x 5 cm | 43 1⁄4 x 33 1⁄2 x 2 inches&#x20;

UNIQUE&#x20;


Photography

Phytosynthesis - Buddleja Davidii Franch

&#x20;Stefano Caimi

*Phytosynthesis - Impatiens glandulifera,* 2024

Custom software, archival inkjet print  on cotton paper on dibond, wooden frame, museum glass&#x20;

95x69x5 cm | 37½ x27¼ x2 inches&#x20;

UNIQUE&#x20;


Print

Phytosynthesis-  Impatiens glandulifera

Iran

Hiva Alizadeh

Untitled (violet and grey Parrot) 2023 &#x20;

Synthetic  hair on canvas and wood

50x20x6 cm | 19¾x7¾x2¼ inches&#x20;

UNIQUE &#x20;


Textile Art

Untitled (violet and grey Parrot) 

Hiva Alizadeh,&#x20;

Untitled, 2022

synthetic hair on canvas

150x100x6  cm | 59x39½x2½ inches&#x20;

UNIQUE  &#x20;


Untitled 

Hiva Alizadeh, Untitled, 2022

synthetic hair  on canvas,

130x140x7 cm | 51¼x55¼x2¾ inches&#x20;

UNIQUE                    &#x20;


Hiva Alizadeh, Untitled (curly brackets) 2021

synthetic hair on canvas&#x20;

137x145x10 cm | 54x57x4 inches &#x20;

UNIQUE


Untitled (curly brackets) 

Stefano Caimi

\*Phytosynthesis - Cannabis Royal Dwarf, \*2022

Custom software, inkjet fine art print on cotton paper, bleached Toulipier wooden frame, Optium Museum Acrylic&#x20;

110x85x5 cm | 43¼x33½x2 inches&#x20;

UNIQUE      &#x20;


Phytosynthesis - Cannabis Royal Dwarf

Stefano CAIMI, *Phytosynthesis - Phalaenopsis Magic Wonder*, 2023&#x20;

Custom software, inkjet fine art print on cotton paper, bleached Toulipier wooden frame, museum glass&#x20;

110 x 110 x 5,5 cm | 43 ¼ x 43 ¼ x 2 ¼ in

UNIQUE   &#x20;

Particles and vacuum. These elements make up the series Phytosynthesis, a digital restitution of the natural microcosm.&#x20;

Phytosynthesis is a series of works that aims to create a visual dialogue between plants and the digital. Contemporary Botanical Tables.&#x20;

Photography is the generating and terminal element of the work, in a cyclical process of co-participation of man and machine. The image is created through an algorithm that processes the photogrammetric scan of the flower. The custom software generates a three-dimensional visualization of the scanned data; the intent is to transcend the photographic image through superimpositions and transparencies of millions of points that allow us to perceive three-dimensionality from a single vantage point.


Phytosynthesis - Phalaenopsis Blue Mystique

Stefano CAIMI

*Phytosynthesis - Alstroemeria-Eliane*, 2024&#x20;

Cutestom software, inkjet fine art print on cotton paper, bleached Toulipier wooden frame, museum glass&#x20;

95 x 70 x 5 cm | 37 ½ x 27 ½ x 2 inches &#x20;

UNIQUE    &#x20;



Phytosynthesis - Alstroemeria-Eliane

Cristiano De Gaetano, Ombre,  2010&#x20;

oil on wooden shape

36,5x28,5x0,4 cm | 14¼x11¼x0¼ inches

UNIQUE


Ombre

Cristiano De Gaetano, *Walk*,  2010&#x20;

oil on wooden shape

40x30x0,4 cm | 15¾x11¾x0¼ inches  &#x20;

UNIQUE


Walk

Cristiano De Gaetano, *Balance (b/n)*

2010&#x20;

oil on wooden shape

38x24x0,4 cm | 15x9½x0¼ inches  &#x20;

UNIQUE


Greta Frau

GRETA FRAU

\*Trancia di compagna J433 sd

&#x20;oil on wood

&#x20;29x22x2 cm | 11½x8½x¾ inches  &#x20;

UNIQUE


Trancia di compagna J433

GRETA FRAU

*Trancia di compagna B 441 sd*

&#x20;oil on wood

29x22x2 cm | 11½x8½x¾ inches  &#x20;

UNIQUE


Trancia di compagna B 441 

GRETA FRAU

*Trancia di compagna N435* sd

&#x20;oil on wood

&#x20;29x22x2 cm | 11½x8½x¾ inches  &#x20;

UNIQUE


Trancia di Compagna N435

GRETA FRAU

Trancia di Compagna # M 411

s.d. (2014)

Oil on wood

29x22x2 cm

UNIQUE


Trancia di Compagna # M 411

United States

Wendell Gladstone

Wendell Gladstone, *Shepher,* 2007&#x20;

mixed media on canvas  &#x20;

183×122x5 cm | 72×48x2 inches  &#x20;

UNIQUE   &#x20;


Shepher

Paolo CAVINATO, Weaving #10 (nuances), 2023      &#x20;

Enamel and acrylic on fluorocarbon thread, wooden frame, glossy black laminate background, museum glass                                                                                  &#x20;

40x30x4 cm | 15¾x11¾x1½ inches.  UNIQUE &#x20;


Weaving #10 (nuances)

How many times have we found ourselves immersed in a bucolic, film script-worthy landscape and not felt satisfied by it? Or noticed the idiosyncratic contrast between a long-awaited desire and its disappointing realization? How many delusive idylls have we built, dreamed, or imagined?

A sense of bucolic anxiety or scientific approach to religion are among the main proponents of these "false paradises" (qui lascio il titolo italiano tradotto letteralmente tra “ “ perchè rende bene il concetto e evita trope repititizioni del titolo tradotto, anche se non è  grammaticalmente parlando impeccabile), of pasts that did not exist, of far-fetched worlds sold as possible, if not imminent realities.&#x20;

Apparently, since the dawn of time, humanity has pursued the belief that the world as we experience it is a great lie, or at very least, is not the world that deserves all of our attention.

The Old Testament testifies to the illusory existence of a paradisiacal elsewhere. Later Plato, through his "myths", explained that what we see and perceive is not the Real World. An endless succession of legends, religions, and stories describe parallel realities in which future eras, optimistic evolutions or the imminent end of the present world are described.

Morpheus urges Neo, “this is your last chance”. The choice is yours: will it be the red or blue tablet?

Beliefs, mythologies, ancestral fears, pathological lies, narratives of dwarves and witches have generated parallel worlds... delusive idylls.

Delusive Idylls are illusive constructs that man has imagined and built in order to overcome complex, desperate, discouraging moments.

Creating narratives, inventing legends or stories – be they truthful or imaginative –, is one of the unique peculiarities of being human.

&#x20;

Following biblical dictates, Dante Alighieri wrote his "Divine Comedy", an epic poem that describes the journey through the otherworldly realms that await us after life: Hell, Purgatory or Paradise. Since the early 2000s, Antonio Riello (1958, Marostica, Italy) has burned volumes of this kind, celebrating the funerals of great writings, enacting their ritualistic destruction by fire and preserving their ashes in illuminated, blown glass vials. Far from a barbaric desecration, in his "Ashes to Ashes" series the artist pays homage to the sacred object that is the "printed volume" by creating an idealistic reliquary, however, through the lens of a second analysis, Riello he exposes the need to research new narratives and study the composition of new masterpieces capable of responding to the imminent fates of our future.

In Middle Eastern culture, stories were told through the weaving of carpets: these textile creations represent ancient symbols that express concepts linked to the history, religions and cultures of peoples from the East. Each carpet carries a precise message, like an authoritative book. Indeed, the visual narratives of the origins of the world, of the Gardens of Eden, took shape through an alphabet of symbols called "motifs". True to form, in this exhibition Hiva Alizadeh (1989 Kerman, Iran) presents contemporary reworkings of Persian motifs using shiny locks of synthetic hair applied to shaped wooden structures. &#x20;

In contrast, ancestral and spiritual pasts are the subjects of Wendell Gladstone’s (1972 Boston, Massachusetts, USA) large cycle of works created between 2010 and 2020. The artist's characteristic plaster and gel reliefs describe evanescent forms that are invisible to the human eye. Presences of guiding spirits hover in the air and settle on the canvas, which is divided into two sections to evoke the symbolic representation of the earthly world dominated by an otherworldly existence, which is inhabited by the Shepherd who sacrifices the "sacrificial lamb" of the flock. This biblical parable intersects with the fireside stories of Native American tribes, which recounted the existence of the guiding spirits.

From ancestral-spiritual landscapes we take a quantum leap into the spiritual-sidereal landscapes of Paolo Cavinato (1975 Mantua, Italy). Driven by a need for abstraction and detachment from the real world and the desire to get ever closer to imperturbable perfection, in his works Cavinato often recalls the concept of a threshold, of an Elsewhere devoid of human presence, where only mathematical lines and sequences exist. His cobwebs of threads delude and confuse the viewer, ensnaring us in his invisible worlds.

The world of Science – as it advances through its postulates, theses and hypotheses – is paradoxically the environment in which mysteries and falsities waiting to be revealed coexist most frequently. In past centuries, science was even subjected to religious laws, which obfuscated reason and often sent those who opposed the Christian conception of the Celestial Spheres to the stake. The Enlightenment then established the primacy of scientific reason over religious beliefs. However, today we face the paradox of technological sciences that give us access to non-existent and impossible worlds, synthetic paradises that dissociate us from reality. Stefano Caimi (1991 Merate, Italy) approaches innovative technologies from the opposing perspective that only science can save the real world from the destruction of its ecosystems and the extinction of its flora and fauna.

&#x20;


Falsi Paradisi

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