In between natural figures made of illogical colors, strange mushrooms, cautious flowers and “Paradisus voluptatis” trees, we enter a wallpaper that is in between a dream and a journey. The whole landscape is characterized by 4 meters at the base and 3 meters in height and it is entirely hand-drawn like a real fresco.
In between natural figures made of illogical colors, strange mushrooms, cautious flowers and “Paradisus voluptatis” trees, we enter a wallpaper that is in between a dream and a journey. The whole landscape is characterized by 4 meters at the base and 3 meters in height and it is entirely hand-drawn like a real fresco.
In between natural figures made of illogical colors, strange mushrooms, cautious flowers and “Paradisus voluptatis” trees, we enter a wallpaper that is in between a dream and a journey. The whole landscape is characterized by 4 meters at the base and 3 meters of height and it is entirely hand-drawn like a real fresco.
In between natural figures made of illogical colors, strange mushrooms, cautious flowers and “Paradisus voluptatis” trees, we enter a wallpaper that is in between a dream and a journey. The whole landscape is characterized by 4 meters at the base and 3 meters of height and it is entirely hand-drawn like a real fresco.
By applying the scientific method to the artistic medium, in particular the evolutionary theories of the Theory of Punctuated Equilibrium, elaborated by the Eldredge/Gould duo and, thanks to the massive use of scanning and modeling technologies, the artist creates hybrid constructs that exploit captured elements from the natural environment.
Once the scans are captured, they are mixed together and shaped to create
an element capable of evolving these forms into a structured element. Something that contains within itself the energy, the soul and the history of all the forms.
The end result is a utopian organic-artificial structure that distorts the natural space but at the same time blends with it.
Sinuous watermarks in which to dive in search of an alternative reality. The deceptive nature of the moirè effect invites you to go beyond the simple perception of matter, multiplying the two-dimensionality of the wall.
Sinuous watermarks in which to dive in search of an alternative reality. The deceptive nature of the moirè effect invites you to go beyond the simple perception of matter, multiplying the two-dimensionality of the wall.
Inspired by a French translation of Paradise Lost published in 1863; a 12 chapter book with 21 engravings bought at auction by Magnus Gjoen. This artwork uses one of these engravings contrasted by floral camouflage.
Inspired by a French translation of Paradise Lost published in 1863; a 12 chapter book with 21 engravings bought at auction by Magnus Gjoen. This artwork uses one of these engravings contrasted by floral camouflage.
In between natural figures made of illogical colors, strange mushrooms, cautious flowers and “Paradisus voluptatis” trees, we enter a wallpaper that is in between a dream and a journey. The whole landscape is characterized by 4 meters at the base and 3 meters in height and it is entirely hand-drawn like a real fresco.
In between natural figures made of illogical colors, strange mushrooms, cautious flowers and “Paradisus voluptatis” trees, we enter a wallpaper that is in between a dream and a journey. The whole landscape is characterized by 4 meters at the base and 3 meters of height and it is entirely hand-drawn like a real fresco.
In between natural figures made of illogical colors, strange mushrooms, cautious flowers and “Paradisus voluptatis” trees, we enter a wallpaper that is in between a dream and a journey. The whole landscape is characterized by 4 meters at the base and 3 meters in height and it is entirely hand-drawn like a real fresco.