The work presents itself as a complex iconographic palimpsest, where the millenary Venetian technique of sgraffito on precious metals is reinterpreted in a contemporary key. The background, dominated by the brilliance of pure gold and white gold, serves as a metaphysical space where classical archetypes, Dantean symbolism, and historical memories converge.
The Dantean Core and the Bewilderment: In the lower left register, the standing figure of Dante Alighieri, wrapped in his iconic red lucco, is captured in the moment of nekyia, the descent into the deep self.
The “dark wood” is synthesized here by three bare shrubs, guarded by the three beasts (the leopard, the lion, and the she-wolf), symbols of the vices that hinder moral ascent. The Poet’s proximity to a colossal marble head—a relic of the greatest composer of all time (Beethoven), now silent—underscores the theme of the fall of great civilizations and culture, transformed into the empty synthesis of the Avatar, the leitmotif of the entire collection.
BABEL The Architecture of Passage: The center of the composition is crossed by a bridge without steps, an architectural element of extreme linear synthesis that spans a turbulent stream. The reference is twofold: on one hand, the historical Rubicon, symbol of risk and irreversible choice; on the other, the crossing of the river of sloth. The absence of steps denotes the fluidity and peremptoriness of the decision necessary to emerge from the limbo of neutrality and face one’s destiny.
The Iconography of Victory: In the upper right position, a figurative insert in Byzantine cloisonné style stands out, depicting Saint George slaying the dragon. The chromatic rendering, entrusted to saturated enamels and sharp outlines, elevates the scene to a symbol of the definitive Victory of Sophia (Wisdom) over Chaos. If Dante embodies the effort of the journey (Midway), Saint George represents the luminous goal: the resolution of the conflict between the human and the divine.