VINCENZO COHEN (english version) by studiobyblos

Vincenzo Cohen My art

Studio Byblos

The path of the artist is mostly focused on the theme of nature and on the environmental issues, since childhood, when the artist after a trip to Africa, had a strong African sickness. The vision of uncontaminated and wild spaces constitutes for him an ancestral recall to the state of nature and awakens the belonging to a primitive state in which man and nature lived in a deep symbiosis relationship. From these reflections comes, in the artistic immagination, the need to communicate, through art, a message of environmental protection and conservation. The art collections, performed over the years, address each differently the nature theme. The collections Italica and Portraits in red and grey deal with the theme of body representation in its different shapes and manifestations, as an expression of nature. In the Italica collection the freedom of expression is evoked through a naturalistic style. In Twilight and Portraits in red and grey, man is the spokesman, through the expression of the myth and the historical portrait of universal values intended to exalt the creation and the nature interpreted, in some cases, as a manifestation of the divine. These collections are realized with oil tecnique. The collections Extinction and Marine nature focus on issues related to the preservation of ecosystems and biodiversities. The first refers to the progressive extinction of species, living spaces and civilization; the second to the theme of the sea as an inexhaustible source of life and to the importance of preserving waters, seascapes and seabeds. Aim of the latter is to raise public awareness through an impactful artistic message. The Marine nature collection analyse the issues of desertification, global warming and plastic contamination and the related consequences in the environmental field. The collection also has historical and psychological meanings.

All my art is dedicated to you, my beloved Janus.... you who gave me greatest love...

General index

three-headed mask...................................................44 tribal mask ................................................................44 Great mask ................................................................45 Company of masks ....................................................46 Primitive mother........................................................47 african little owl.........................................................48 thinker and owl ........................................................49 Spotted hyaenas ........................................................50 Hyaena ridens ...........................................................51 Damascus...................................................................52 Cameliopardis giraffe.................................................53 Kordofan giraffe pattern ............................................54 reticulate giraffe pattern ..........................................55 the way to Hammamet .............................................56 Desert .......................................................................57 the two worlds .........................................................58 Casbah ......................................................................59 atlas valley .................................................................60 Peacock .....................................................................61 Carthago ...................................................................65

Twilight ...........................................................9 (oil in canvas, tempera on cardboard; 1997-2001) Introspection .............................................................11 Priapus ......................................................................13 Infernal grip ...............................................................15 the mistic...................................................................16 Solitude .....................................................................17 Epimetheus................................................................19 Selene .......................................................................21 Prometheus ...............................................................23 Persephone ...............................................................25 restlessness...............................................................27 Proteus.......................................................................28 Forest ........................................................................29 Extinction ..................................................................30 from Primitive Mother (2001) Enuma Elis..................................................................10

from the coast of skeletons (2015-18) The bones’ pit ............................................................32 Oozing ........................................................................33 In the Dràa valley.......................................................33 The skull .....................................................................34 Fog .............................................................................36 The sublime................................................................36 Namib ........................................................................38 The Kunene valley ......................................................38 The steppe..................................................................40 Into the gothic ...........................................................42 Dhofar ........................................................................42

from On the road (2004) Streets ........................................................................12 from Stories of a visionary fool (2005) In the abyss ................................................................14 Will-o'-the-wisp .........................................................18 The Orpheus chant ....................................................24 from the Mother of Mothers (2007) Andromeda ................................................................20 The new music ...........................................................22 The mother ...............................................................26

from the Illustrious Vernacular (2013) Vulgar canticle ...........................................................62 The Supper of the Carmina........................................63 The thousand faces of Janus .....................................63 Evil belonging to you .................................................64 The returning fog .......................................................64 The king of heavens ...................................................66 Nature is stronger than man .....................................67 The Onan's delirium...................................................68 The chant of Pomona ................................................69

Extinction.......................................................31 (acrilyc on jute, oil pastels on cardboard, watercolour on canvas, oil on canvas, 2002-21) rocky nature..............................................................35 Mount Meru ..............................................................37 Kunene.......................................................................39 White Southern rhinoceros.......................................41 Striped hyaena...........................................................43

Italica.............................................................71

Medusa ....................................................................111 Linnaeus ..................................................................113 Pythagoras ...............................................................114 Magnes ....................................................................115

(oil on canvas, 2007; 2016-21) tyrrhenus...................................................................74 Latona .......................................................................75 Enotrus ......................................................................77 Gigantomachy............................................................78 Culsans (JaNVUS BIFrONS) .......................................79 Head of Maenad .......................................................81 Portrait of Lucius Iunius Brutus (Capitoline Brute) ...83 Portrait of the Emperor Commodus in place of Hercules ..85 Caracalla.....................................................................86

from the Carmen of ashes (2008) Prologue.....................................................................90 At the suppef of the Ashes ........................................90 Cryptic canticle ..........................................................92 The selva ....................................................................92 The sense ...................................................................93 The ship......................................................................93 Imprisonment ............................................................94 Ausonia chant ...........................................................96 The laughter ..............................................................96 The song of ashes ......................................................97 The stake....................................................................97

the tragicomic trilogy ..................................70 the Carmen of ashes the Black Book of the Saber Cretan sea

from the Black Book of the Saber (2009) Ash clouds................................................................102 Our yearnings ..........................................................108 The tears of time......................................................108 Virgo fellationis........................................................110 The reasons of being ...............................................112 Vision of ruins ..........................................................112

from Cretan sea (2009) Fatal sod ....................................................................72 The palace..................................................................72 Fight between Titans .................................................82 Drunk with sleep ........................................................98 Cupe waters ...............................................................98 Cretan sea................................................................118 Greek ﬁre .................................................................118

Marine nature .............................................116 (mixed media on canvas, 2019-21)

from tyrrhenian chants (2017-19) TheTyrrhenus sleep ....................................................73 Enotrian mounts ........................................................76 Damnatio ...................................................................76 The light .....................................................................80 Sentence.....................................................................84 Venatio.......................................................................84

abyss........................................................................119 rocky ravine.............................................................121 Sea depth.................................................................123 Stratiﬁcation ............................................................125 Sedimentation .........................................................126 Prints on the shore ..................................................127 Drought....................................................................128 Desertiﬁcation ........................................................129 tectonic crusts ........................................................131 Plastic contamination .............................................133

Portraits in red and grey ...............................89 (oil on canvas, 2014-21) Giordano Bruno (1º version) ....................................91 Giordano Bruno (2º version) ....................................95 Dante's journey into hell .........................................99 Medea .....................................................................100 Lorenzo the Magniﬁcent .........................................103 Frederick II of Swabia ..............................................105 Nefertiti....................................................................106 Circe .........................................................................109

from ars Memoriae (2020) Carmen ....................................................................120 Twilight ....................................................................122 The last face of Janus ..............................................122 Evocation .................................................................124 Spectrum in the night ..............................................130 Beyond you ..............................................................132

Striped hyaena (hyaena hyena) Conservation Project logo promoted and realized by Vincenzo Curcio supporting by WWF Italy (Sicily & Mediterranean area ODV)

Panegyric of interdisciplinary culture. This is, in summary, the artistic expression of Vincenzo Cohen dressed in a panoply forged in talent, in the visual experience, this one also supported by a vast knowledge of human culture and its history. Vincenzo Cohen is not just a simple art Maestro, it would be an understatement, but he is an ingenious professor of the image who gets help in the conceptual narration from the poetry he himself has created. Free verses that treat the most disparate arguments with frank and casual erudition appreciated by connoisseurs and also a precious source of curiosity for those who, in life, haven’t had much conﬁdence with books. Are they understanding didactic intentions? Perhaps. Certainly, however, Cohen’s artistic work is an outburst of a restless soul in his continuous search for ideas to reach ataraxia. Chimera, because any artist knows that Polemos, the father of everything, houses within his soul. If Polemos were to vanish into thin air, to vanish into the world of ideas, Plato's cave would suck into itself the cosmos outside of it, including the sun. Even the shadows would lose their vanishing consistency. No more cave but voracious, immanent black hole, similar to those found in the sidereal, shining spaces of the austral nights in Namibia, a place visited by Cohen, a wild land, an ancestral pantheistic temple; not sacellum but simulacrum of the Nature mother of fugacious life. Only art and the words remain in the “panta rei” of the aeons. As this is evidenced by the artwork “Apollo of Veii”, well represented by Cohen the painter, very similar to the original statue of Vulca. Now, as then, the Apollo is a precise temporal herm, which indicates the era in which the Rasna in the land of Etruria, were drunk, like maenads, by the eastern art styles, and were celebrating their Anatolian kinship like Tyrsenoi full of pride. This one is an ancestral, strong intrinsic and stable bond, however, it’s not similar to all those interrupted by the inevitable descent into Hades, the end of life. Hades, god with a blue face, lord of the underworld, leaves Persephone, his wife, free for six months. As a mother of life she climbs the earth in spring and she gives to mankind crops and harvests and then in the autumn she returns back, as a devoted wife, to her husband. This is an ancient myth, an apotropaic, ancestral attempt to soothe the pain of separation in a triumph of symbolism that helps to accept separation. The two-faced Janus god knows when we pass and where each of us is going. He is the Lord of the gods, he is fate itself and it was him the opener of the fraught way of Vincenzo Cohen for the search of the expressive artistic perfection. Dino Marasà

“Reinterpreting myths through human experience, ﬁghting injustice, breaking silence, shooting down the barriers of diversity by erecting the breastplate of inner force, elevating himself from the delirium of creation for not to die in the darkness of forgetfulness.. The power of creation lies in its message because art can be a means to combat violence. Art is an expression of nature and its potency...”

Twilight (1997-2001) (oil painting on canvas; tempera on cardboard, 1997-2001) Twilight is the first pictorial collection created during the years of study at the Academy of Fine Arts in Rome. The collection includes artworks, with prevailing shades of blue, executed between 1997 and 2001, and which are characterised by the presence of isolated figures made up of human, mythological or fantastic subjects immersed in neutral backgrounds. The subjects range from the representation of the classical myth, through a reinterpretation in a symbolic-expressionist key and references to modernity (Priapus, Proteus, Persephone, Selene) to universal themes which are aiming to the description of inner feeling (Solitude, Introspection, Restlessness). The artworks, are made mainly with oil technique, they are characterised by dark colours and gothic settings, from which the title of the collection originates; it’s an allusion to the moment of inspiration, at the coming of the night, when the artist is reaching out towards creation. Most of the artworks have born on the basis of the representation from life, through which the artist has performed preparatory studies aimed at the psychological characterisation and a personal stylisation of the anatomical forms. The prevalence of cold shades and sparse scenarios, made up of dark and indefinite spaces, from which the represented subjects emerge in a preponderant way, reveals the desire to emphasise the psychological introspection of the characters, through a style consisting of whirlpools of spiral brushstrokes. In the painting Epimetheus (Gr. The one who thinks later) for example, the figure of the thinker is an expression of an introspective and melancholy ego. The antithetical and complementary is the figure of his brother, the prophetic titan Prometheus (Gr. the one who acts first, the portrait of his friend and promising young Giampiero Ganeri). Intuition and focus on the subject characterise this expressionist-style production pervaded by a melancholy language which reveals a strong propensity for emotionality and a sense of inner restlessness.

Primitive mother (2001) The collection of oriental inspiration was born at the same time as the pictorial production on the theme (and the homonymous painting). The title refers to the theme of primitive matriarchy and motherhood, symbol of a return to a bond of original purity. In the poems emerge interest in the artistic traditions, millenary and exotic literary cultures, but above all for the African civilization, cradle of the origins of man. Language is narrative with references to the history of the early Mesopotamian civilizations.

ENuMA ELIs ... And I remember how you sang well... That beauty chant now inside of you in every part of my soul in every pit of my land in every ancient scripture... And I remember when that chant awakened us from earth it was bare earth like blood you shaped me in primitive forms I was man and god at the same time... from Primitive Mother, 2001

Picture 1 - Introspection 11

On the road (2004) The poem collection deals with a theme resumed later during the artistic production: the theme of road. The road intended as a link to the other one, conjunction of existential paths, but also as a link towards new spaces and geographical places. In a symbolic way it represents the return to a state of freedom, in the aftermath of a ﬁnished relationship, and at the same time the abandonment, where to ﬁnd hisself again on the road means restart a path of life, take a new road, reclaim a own size.

sTREETs Take the day from my hands now that we are free from sin through the doors of ocean hold these full of fear hands tight. Faceless you appear like a mask then disappear I don't know what roads belong to me anymore.. I would like to shout that I will never be master of your heart, NEVER! from On the road, 2004

Picture 2 - Priapus 13

Stories of a visionary fool (2005-06) Stories of a visionary fool collects poetic compositions inspired by readings and biographical experiences. The collection realized with a visionary and symbolic style deals with the theme of the art illumination generated by the creative delirium and ﬂair. A journey into a dreamlike and surrealist dimension that probe the darkest depths of human spirit in which dominate enchantment, intuition and madness.

IN THE Abyss Like a ﬂaming sword spinning in the air a seagulls explosion is lost in the distance between fragments of light just now that I can see this sea. I sailed toward you you were the emerged land while I sank down into the suction of this sea. from Stories of a visionary fool, 2005

Picture 3 - Infernal grip 15

Picture 4 - the mystic 16

Picture 5 - Solitude 17

WILL-O'-THE-WIsP To become inﬂamed in the eternal light begging heaven that Divine manifest hisself... Hearing suggestions summoning the inanimate as the torches of souls shine in the night.

from Stories of a visionary fool, 2005

Sketch for Epimetheus 18

Picture 6 - Epimetheus 19

The Mother of the Mothers (2007) The Mother of the Mothers is a poem collection dedicated to the figure of the woman, evocation of the great Mediterranean Mother, first artistic testimony of the religious matriarchy of the primitive man during the upper Paleolithic. The primigenial Mother-Goddess is an archetypal figure that found expression, in the form of myths and divinities, in much of the most flourishing artistic civilizations of the Mediterranean area.

ANDROMEDA Eternalize on the stone the memory of she who lies on its own on the shining stars and burning torches of carnal desire to atone for mother fault of the monster who kidnapped her while she oﬀers a twig of acanthus leaves. she will be forever companion upon the dark mantle in the wing ﬂight of the ancient Amphictyonics. from The Mother of the Mothers, 2007 20

Picture 7 - Selene 21

THE NEW MusIC To Giampiero, a friend of unforgettable childhood All thoughts I had for you are hidden secrets in this music. The Euripides new music. but I had to continue to believe that you are still there. In these days, unforgettable stormy days... This is the art of the night. from The Mother of the Mothers 2007

Picture 8 - Prometheus 23

THE ORPHEus CHANT Oh fool your verse evokes the arcane and perpetual chant is spread in the morning light... The ox melancholy bellows in the distance and behind the hedge you can hear the voices of the inanimate. Who can give voice to my inner chant? I go down into the misty mantle I look for answers in the cave of Hades into the cavern I bring art to enchant ﬁre to illuminate. Where silence reigns my chant perpetually propagates sharp dagger in the night and shield against dark forces, shadow I chase forever, light I lose in the dark. from Stories of a visionary fool, 2005

Picture 9 - Persephone 25

THE MOTHER between earthy burials the mother lies. In the hand a key to open the three doors of the hell spectres dance into the Empyrean and they shine with divine light get started funerary shows, the gory game of Phersu. Dancing ghosts are in motion. Oh, tell me man which spirit will have the secret if the mother has the sphere of power? From the place where the deer yearns and laurel woods, mother observe. from The Mother of the Mothers, 2007

Picture 10 - restlessness 27

Picture 11 - Proteus 28

Picture 12 - Forest 29

Picture 13 - Extinction 30

Extinction (acrylic on jute; oil pastels on paper; watercolor and oil on canvas, 2002-21) Extinction is the title of the naturalistic pictorial production developed over the years. The importance of conveying through art a message of awareness to environmental issues is the fundamental premise of the collection. In the author's artistic path, painting, writing and photography are closely connected and arise from the common need to preserve the environment and its biodiversity. At the age of eleven, the first contact with African nature arouses emotions that will deeply affect the artist's existential perspective. The vision of uncontaminated and wild spaces exerts an ancestral appeal and awakens that sense of belonging of man to primitive life that is realised in the relationship of symbiosis with nature. The reticence towards the media contamination of art and the new languages of visual sensationalism; the advancement of a virtual communication that impoverishes sociality and cultural aggregation, pushes the artist to travel to uncontaminated places, in an attempt to recover the lost contact with nature. The artist feels the impossibility of reunification of this recall and seeks its authenticity through the essentiality of the forms. Different techniques and styles characterise this constantly evolving production, which reflects the interest in the African mask of the early years. The collection faces with one of the most painful themes in history: the extinction of living species, the gradual disappearance of natural spaces and civilisation. Inherent in the title is the denunciation of the massacre of endangered animals which brings attention to some species subject to indiscriminate persecution by man. The demand for biological parts, for economic and commercial purposes, contributes to feed the black market trafficking for wild animals. It highlights the dramatic consequences of an extermination perpetrated on the basis of erroneous scientific convictions (the commercialisation of rhino horns, to which healing powers are attributed), of the actions of human vanity (in the case of animals killed to be exhibited as trophies of hunting) or magical-religious beliefs fed by popular superstition. The recurring figures of the hyena and the rhinoceros allude to the progressive extinction of the two species, mainly due to false popular beliefs. both have in fact been exterminated by man causing a strong increase in the mortality of the species and a regression within its own distribution range. Enhancing the beauty inherent in biodiversity, the collection offers a starting point for a choral reflection and highlights the importance of protecting its conservation. The giraffe, an example of evolutionary adaptation (due to its ability to survive in extreme environments, poor in natural resources such as deserts, although its height, is the sign of a biological evolution aimed at finding nutritional resources), represents the survavibility, but also the need to rise towards a transcendent dimension, to which man can trend and rejoin, only through nature. The disappearance of natural spaces, subject to the phenomena of deforestation and building speculation, present in works such as Kunene, Mount Meru and Rocky Nature, shows the grandeur of wild nature and its telluric forms that rise to dominate a desert landscape that borders in front of the observer; allusion to the cultural regression of man and the loss of liveable spaces. The disappearance of civilisation is represented in artworks as Two worlds, Damascus and Casbah, in which the folklore of popular and artistic traditions stands out to represent the last testimony of a world that disappears.

The coast of skeletons (2015-18) The theme of the journey returns years later in this collection inspired by the surreal landscape of the skeleton coast, in Namibia. The poems describe with a visionary style the fascination exerted by the enchantment of natural scenarios and the sense of impressiveness aroused by the wilderness. The elusive and recurrent image of the hyena wandering along foggy coasts becomes a symbol of extinction, the central theme of the work. Her ravenous ﬁgure embodies the image of ancestral human fears, which force her a wandering existence in remote and desolate areas to escape the persecution of man.

THE bONEs’ PIT Toc Toc...? Who lies in the coﬃn? under the moon and sky I await the hour of its slow rise from the darkness while the pit is full of outcast bones misfortune of humanity in the inﬁnite universe. from The coast of skeletons, 2015-18

OOzING I lay the weary bones on the stone and in the roaming night I laugh down of the comedy of life... slowly the oozing of the mind ﬂows the antechamber opens senses are overcome by the ray of imperishable light it groans it drinks greedily at the source of life.

IN THE DRàA VALLEy I am not the cause of myself for this I will ﬁght against the prevaricator of power! In an eternal echo of worlds me and the drug were friends burning in the ﬂame of existence. from The coast of skeletons, 2015-18

THE skuLL I’m like a breath of wind I melt in the snow... It’s distressing to see with the eyes of a skull covering itself up on the horizon in landing I heard calling me from labyrinth, from that wrecks ocean, precocious mind of child... The coast is wet and in the morning I chase the traces of something that has passed, that perhaps I will not see.. I go into the darkness that I don’t know and belongs to me. from The coast of skeletons, 2015-18

Picture 14 - rocky nature

FOG They are sipping the unarmed time... Walking in the fog gripping deaf echoes of ﬂocks in the distance trample on shattering leaves carpets and ﬂowers that pierce the snow in the fatal desire for stillness.

THE subLIME In the meanders of the night towards a dark and desolate coast a brown man appeared in the distance as in a reflection his body captures me in a flash my fire burned out and consumed. from The coast of skeletons, 2015-18

Picture 15 - Mount Meru

NAMIb As a chorus of bees it lieth.. soaked in art I drown in the waters of a lake that may not be there anymore...

THE kuNENE VALLEy In the desert where the valley of Kunene rises let me slip into the ether I’m wandering in the fog of existence... Wandering through the heresy of existence timeless images I observed in the valley of kunene. The telluric forms tremble it shakes the stunned present it wanders on the veil of the mind while we are waiting for the arrival of the night. from The coast of skeletons, 2015-18

Picture 16 - Kunene

THE sTEPPE In the steppe nature slowly awakens, desertifying itself... What shakes the leaves down in the mire? Corollas reveal themselves they doze on flowery beds sip from golden cups ephemerally it lies... To tectonic crusts to celestial bodies in flight and crystalline currents magmatic cooling we resist... but the steppe is lost in the flowery forest in the cool shade of the turf in the moss, inanimate and obscure essence. from The coast of skeletons, 2015-18

Picture 17 - White Southern rhinoceros

INTO THE GOTHIC In the gothic dream me and my guide traveled through a foggy coast between waves of stormy seas and wrecks of forgotten ships... I warn the call of dusk that awaken us and when in the night you can feel the sense of not passing time, eternal.

DHOFAR I follow in your tracks looking everywhere... among the Namib desert dunes to the gates of the Caucasus, from the Skeleton coast to the cold east steppe... My wandering and solitary existence goes away like a striped hyena vanishing forever in the desert of extinction, away from present. On the top of samhan jabal in the great immense Dhofar sky. from The coast of skeletons, 2015-18

Picture 18 - Striped hyaena

Picture 19 - three-headed mask

Picture 20 - tribal mask

Picture 21 - Great mask 45

Picture 22 - Company of masks

Picture 23 - Primitive Mother 47

Picture 24 - african little owl 48

Picture 25 - thinker and owl 49

Picture 26 - Spotted hyaenas 50

Picture 27 - Hyaena ridens

Picture 28 - Damascus 52

Picture 29 - Cameliopardis giraﬀe 53

Picture 30 - Kordofan giraﬀe pattern

Picture 31 - reticulate giraﬀe pattern 55

Picture 32 - the way to Hammamet 56

Picture 33 - Desert 57

Picture 34 - the two worlds 58

Picture 35 - Casbah 59

Picture 36 - atlas valley

Picture 37 - Peacock 61

The Illustrious Vernacular (2013) The poem collection represents the return to faith. The scripture that at the Dante's time had to be illustrious, aulic and curial inspired the setting of prayers of the lost man in the oblivion of sin. In the evolution from late antiquity to the Middle Ages of the vulgar era spirituality, faith ﬁlls the void caused by sinful sense. Hordes of barbarians occupy Rome, while the last glimmers of paganism survive. The voice of the Pantocrator spreads through the choir, faith grows through art. It is a time of religious ﬁres.

VuLGAR CANTICLE The sacred thyrsus burns hot clods eﬀuse vapors down in the ragged basin... Through roads full of jars haruspex holds the lituus sirens are heard chanting a vulgar canticle.

THE suPPER OF THE CARMINA The supper of the Carmina is eaten at dawn and at twilight. The supper of the Carmina emanates the smell of meat slowly burned in the ﬁre of God, our supreme almighty Creator. The supper of the Carmina it will be consumed when every creature will be free from the chains of man. Amen.

THE THOusAND FACEs OF JANus The thousand faces of Janus appeared in the morning mist the thousand faces of Janus return evoked by the horny sound of silvanus and Pomona echoes fairy faces in the forest by celebrating the fruit symposium Faunus arrives with a furious gesture, shouting in chorus for the glory of bacchus! from The Illustrious Vernacular, 2013

EVIL bELONGING TO yOu The evil belonging to you must perish in the horror comes from the fog... Evil you see you see it every day in his eyes turned on and oﬀ in the snow.

THE RETuRNING FOG We fall into the coils of yoke of Commodus the returning fog from the past of Janus. I listen to the sound of the horn calling me into the forest... Crow’s song rises from above under the acanthus capital plebs rages against the inept: FERONIAM et PHERsu APLu et LATONAM MARTEM et JOVEM LAuDAMus... from The Illustrious Vernacular, 2013

Picture 38 - Carthago

THE kING OF HEAVENs From here I immerse myself in the sandy horizons and I sink in the strength of Christ. Oh my God, I ask you to save this world from the chains of time no one is free in this fog that surrounds us... you disappear early in the morning fog but following in the signs of the illustrious and vulgar manuscript it is along the way from the truth in vespers I would come to pray that the world was free from chains. When the Holy twilight is invoked by us, creatures of the night, clear water set me free from these chains! from The Illustrious Vernacular, 2013

NATuRE Is sTRONGER THAN MAN I wander in the wind I blow on golden chalices I wander through the desert I get lost in a pond in bloom... I caress the autumn breeze the aurora borealis the mythical swan song the fading day. Diaphanous presences are lost in the fog while we dance to the rhythm of death I shake the sands from the rind I free the beast in me, it wants to come out from my skin change shape because nature is stronger than man yes, stronger... from The Illustrious Vernacular, 2013

THE ONAN's DELIRIuM From cradle... sore mirror of Narcissus I hear the call of the lynx far away in the rocks... The wood is sublime tonight but it’s summer I want to immerse myself in clear crystalline waters go through historic lands waves cross me ocean belongs to me. from The Illustrious Vernacular, 2013

THE CHANT OF POMONA To East lieth helpless in wax like silent larks. To East in the wastelands something crosses the morning glow... The silent owl disappears down in the misty mantle of the night and his gloomy chant makes the soul sigh. Who or what caused the fatal fall? Now I seem hearing her call into the wood... I remind the agile ibex jump on the snowy peak Who can render justice to her ﬂight? I remember the skillful shot of the deer under the fearless grip of the lynx Who can soothe the sign of her fatal passing? The brown kite ﬂies over the stony heath someone dies in a dark night. from The Illustrious Vernacular, 2013

The Tragicomic Trilogy The Carmen of Ashes (2008) The Black Book of The Saber (2009) Cretan sea (2009) The Tragicomic Trilogy includes three poem collections made between 2008 and 2009 characterized by a gothic style and hermetic symbologies. The sense of loss and the experience of death, linked to biographical events, are concretized in hermetic writings characterized by gothic settings and by a grotesque style. The trilogy includes a first collection entitled The Poem of Ashes dedicated to the philosopher Giordano bruno and allusion to his famous dialogue La cena delle ceneri. In the work of the philosopher the conceptual presupposition consists in the realization that the divine manifests itself in every form of nature. The choice of the title, deliberately desecratory, is ironic on the meaning of the term carmen, a Latin genre of religious character. In the collection, in fact, the short compositions are characterized by a concise and theatrical style, a grotesque humour and a derisory spirit towards the servile bigotry. The bruno's epopee is configured as a journey to the underworld; a descent towards the lowlands of the uncultivated and plebeian mass, which blindly entrusts itself to the precepts imposed by the ecclesiastical institution. A journey into the social meanders of human bestiality, which the philosopher boils with the epithet of blissful asinine mood. The compositions trace the life of the philosopher in an allegorical way, by emphasizing the right to free expression of the individual. The poem deals with the subject of the free thought of the individual also in relation to artistic expression in the field of science, in the spiritual sphere and in relation to the political-religious institution. The second collection The Black Book of the Saber, the two faces of being inanimate with strong allusions to the sensual and erotic dimension, deals with the theme of relationship between body and soul, in which the two male/female principles are combined in an ambivalent vision of reality. The collection was born as a literary experiment of simultaneous creative writing. The poetic texts were in fact realized in collaboration with the artist Tiziana Rasile, and consist of compositions created by an instinctive flow of verses simultaneously connected. It is a collection that aims to immediately catch the inspiration of the moment. The two faces of being, here represented, allude to the both ambivalent, antithetical and complementary faces of man and woman. The third collection Cretan sea closes the trilogy with metaphorical and short compositions. The collection is inspired by the naturalness of Cretan palatial painting and by the barren and

evocative landscape, surrounded by the sea of Crete. Cradle of artistic civilization and ﬂourishing commercial hub since ancient times, the history of Crete is shrouded in the magicality of the myth. In the Italian language the term Creta alludes at the same time to an image of desolation in which the sea, expanse and boundless resource, in the face of the adversities of life, is transformed by drying out and becoming a plastic image of sterility, desolation and loss of interpenetration with nature. The symbology of water translates into images full of emotional suggestion and steeped in historical references that refer to the formation of a common artistic and cultural identity.

Italica (oil on canvas, 2007; 2016-21) Italica is the collection inspired by archaeological finds and evidence of material culture. From 2005 to 2014, during a long period of inactivity, in which the artist is engaged in archaeological studies, he paints a single painting, entitled Gigantomachy which summarises the interest in Etruscan art of the Orientalizing age (VII century bC). Other works have been realised subsequently and they are linked to the Etruscan imagery and testify to the interest in Italic antiquities, the archaic and classical period (VI-IV century bC), the middle Italic (III-I century bC) and Roman statuary. The painting from which the collection starts is the portrait of Lucius Iunius Brutus, mythical founder of the first Roman republic, inspired by the famous bronze statue of the Capitoline Brute, kept at the Capitoline Museums in Rome. The collection represents a moment of transition in the artist's production, acting as a bridge between the first and second production. At the same time it constitutes the desire to recover an expressive language which is characteristic of the cultural identity of the Italic peoples and of the first civilisations that inhabited the peninsula since ancient times. The represented characters try to resurface the sense of sacredness of divinities with typically Italic origins (Culsans), or that sense of naturalness and freedom inherent in some of the first artistic manifestations of ancient Italy. The paintings inspired by the coroplastic production in Etruscan polychrome terracotta (which find historical-artistic correspondences in the local Greek productions of the archaic period such as the Tyrrhenian and Maenad paintings), by the commemorative portrait of Roman popular extraction (Brutus Capitolinus) from the vascular productions refer to this aspect and by the funerary pictorial tradition (Gigantomachy).

FATAL sOD It is told the story of the little man Tages that one day popped up from the fatal sod to teach the Etruscan people the art of divination... “Oh divine Tages, look at these deep earthy bowels here the truth lies... Let's restore life to these bodies bathed in infamy they want to come out of matter which oppresses them..” so glory was made for men. ..”Fatlem glebam..”

THE PALACE Ashes ﬂy on this Cretan sea on these bodies forged by pleasure memories of the sweetest essence vibrate and fade away... We immerse the bodies in the mud of God and born again like nocturnal ﬂowers. Hungry. from Cretan sea, 2009

Tyrrhenian chants (2017-19) The poem collection is inspired by the Tyrrhenian nature, the history of Italic traditions and its protagonists. The Mediterranean landscape, intended as a mirror of the human soul and perspective of the southern man, is the background to compositions that evoke historical events, traditions, places and characters belonging to the history of the Latin world.

THE TyRRHENus sLEEP At the mercy of the waves from Tyrrhenian sea to a virgin land we sail... Burned by heat from the warmth of a ﬂame we are consumed... And in reﬂection of the shadows we are... I read of an eponymous Tarchon, king of Tarquinia native priest of Tages divine haruspex and mad fortune teller. The sacred lituum of Phersu burns in the Volcanal. from Tyrrhenian chants, 2017-19

Picture 39 - tyrrhenus 74

Picture 40 - Latona

ENOTRIAN MOuNTs Shines the light we are.. When the night comes I feel a fog coming to me unguarded I enter into the labirinth of time time not passing, eternal... I am on mountains looking into the distance where live the wolves that can never be seen in the gorges of God so far away.

DAMNATIO Caligula adversus barbaros... He wants someone to mistreat him but then he wants to run He wants someone to mistreat him once again but he just wants to run run away into the fog of his war. from Tyrrhenian chants, 2017-19

Picture 41 - Enotrus

Picture 42- Gigantomachy

Picture 43 - Culsans (JaNVUS BIFrONS)

THE LIGHT Love is ours, not disperse it... How can naivety fade away and get lost in sin how can life slowly slip into the abyss emerging from the darkness you have never seen blinded as you are by the light. It bends the thought it's lost in pleasant and unreachable places while inside him is storm unleashing in the night of a child. They seeks the impossibility and consume in sex the ﬂame of beauty in interiority reﬂected and he walks and runs away looking for the warmth of an eternal hug eternal as the rest of the deads in the throat that holds our hearts to the breast. from Tyrrhenian chant, 2017-19

Picture 44 - Head of Maenad

FIGHT bETWEEN TITANs Running away in a desolate street you will not ﬁnd the road you were looking for and once again world will appear empty and then you will look for a way to escape from the loneliness chasing you. Let's you free every prison of your soul as the day slips in your hands a current is too strong and will take you away from yourself and from the world a wound that bleeds deeply you sew but once again your way will be far and traveling on a locomotive at night time will appear eternal while combat a ﬁght between Titans. from Cretan sea, 2009

Picture 45 - Portrait of Lucius Iunius Brutus (Capitoline Brute)

sENTENCE While everyone is away I am with the animals in the silence of a bitter land... Esperia. saturnia. Ausonia. Enotria. Italia.

VENATIO Into the arms of Poppea the ludi of Nero begin... Toasting glasses under the vaults of the great Domus... When the beasts enter the arena to die under the stone eyes of unforgiving people of the ancient Rome burning into the ﬂames of a pagan faith and gladiators will ﬁght with the sword to the bitter end to acclaim the inept Emperor Caesar of Esperia elephants will parade around the thorn of the great circus the curtain of death and nameless injustice will rise. Impunity. from Tyrrhenian chants, 2017-19

Picture 46 - Portrait of the Emperor Commodus in place of Hercules 85

Picture 47 - Caracalla

Picture 48 - Poverty

Portraits in red and grey (oil on canvas, 2014-21) After nine years of abandoning the artistic practice, the return to painting is marked by the creation of the series of Portraits in red and grey. Throughout the centuries of history, the collection intends to show historical ﬁgures under the light of their cultural context. The source of inspiration comes from sculpture, in the transition from three-dimensional to twodimensional representation. The collection includes a series of portraits, made between 2014 and 2021, characterised by some stylistic choices such as the prevailing two-tone, in which the warm / cold contrast of the chromatic tones enhances the elegance of the subjects represented. The stylistic elaboration is inspired by Greek-Roman portraiture (connecting to the contemporary Italica collection; Portrait of Lucius Junius Brutus, Caracalla), by Egyptian statuary (Nefertiti) by the history of the classical world (Magnes, Pythagoras) and by Greek mythology reinterpreted in modern way (Circe, Medusa, Medea). In these last works the representation often ranges in a fantastic imagery that is linked to the previous Twilight production. Other characters instead, stand as a symbol of art (Lorenzo de Medici, Frederick II) and of free thought in the face of social conventions and the impositions of moral and religious customs (versions of the Giordano Bruno artworks). These are often isolated ﬁgures in a neutral background, absorbed in hermetic expressions to underline the need for psychological introspection and the profound sense of isolation of man.

PROLOGuE Here comes the illustrious man with the book in his hand sluts prostrate... pages of “DE IMMENsO ET INNuMERAbILIbus” are burning into the ﬂames Dominus dixit ad me psalmus…. Chorus: Imene ImeneuM Imene ImeneuM Imene ImeneuM

AT THE suPPER OF THE AsHEs At the supper of the ashes the cillenic donkey pushed the fox on the laughing hyena that convulsively exclaimed:. “hihihihiahihihihiahihihihiaaaaaaaaaaaaaa……..” The verses of konwledge burn in the wind... from The Carmen of Ashes, 2008

Picture 49 - Giordano Bruno (1st version) 91

CRyPTIC CANTICLE stands the Almighty the laid creatures oﬀer themselves now we worship who revealed the secret that is him: the sacrosanct. Gold... Forbidden metal will you become vile? That’s the dummy’s answer: CLAP CLAP CLAP CLAP!!!

THE sELVA It is the gloomy song that awakens me from oblivion In the night I reached out my arms to your unattainable grave.... The man dressed in purple comes among the people screams the forest of demons!!!

da The Carmen of Ashes, 2008

THE sENsE Lose the sense of consciousness is orrible... Let's enter into the cavern now to become a repository of bones.

THE sHIP The wind strongly and impetuously blows tales of men are lost on the horizon it is the ﬁlthy grin of the sick goddess mirrors laugh at us the hour of forgiveness has come skip far the frog... Cra cra... from The Carmen of Ashes, 2008

IMPRIsONMENT In the cell I consumed pages of the book coming back to me from the ashes and I fell into the deepest sleep. In chains I questioned the skull to know what the secret of life I stretched out these arms, ephemeral heaps of bones to God. from The Carmen of Ashes, 2008

Picture 50 - Giordano Bruno (2nd version) 95

AusONIA CHANT Flies the black bird it is discovered the sacred veil of death it is heard the twilight songs consumed are the embers smokes the ash roars the delirium of dead.

THE LAuGHTER Let’s go down into the sea the spirits are crying shout in chorus:. “CARON DIMONIO!!!!!!!!!!!!!!!!!!!!!!!!!” The clown roar down with laughter the orgies of pain kick oﬀ. from The Carmen of Ashes, 2008

THE sONG OF AsHEs On the land of the Ausones Pegasus horse lands the spaccio beasts are wriggling it is ululated to the moon Aaaaaaauuuuuuuuuuuuuuuuuuuuhhhhhhhhhhhhhhhhhhhhh From the ashes of the ashes the evil book resurrects...

THE sTAkE In the mephitic waters of the underworld the secret is hidden. From the sacred krater it rises the dark canticle of the black bird of death. Wisdom burns into the ﬂames... from The Carmen of Ashes, 2008

DRuNk WITH sLEEP Drunk with sleep I fell asleep into the cavern. I went into the crypt without reason and that hosted you, snake. Crawl away from here in the desert of day...

CuPE WATERs In the celestial ﬂame the faster ray in the humid pier lightning ranged. Falling down we were shackled in chains on the moon surface. Losing the nest forever the singing soul vanished as heavy weight in dark waters... from Cretan sea, 2009

Picture 51 - Dante's journey into hell

Picture 52 - Medea

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AsH CLOuDs Ash clouds deep ethereal transparencies envelop the absent and indolent soul... Turbid, absolute, let the happy end come to you push me into the slumbering ﬁre oh ﬁre and mercy tremble the soft secret and towering cenacle of Christ in the place of my prisons I cherished the Divine... from The Black Book of the Saber, 2009

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Picture 53 - Lorenzo the Magniﬁcent

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Sketch for Frederick II of Swabia

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Picture 54 - Frederick II of Swabia

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Picture 55 - Nefertiti 106

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OuR yEARNINGs Our yearnings burn with uncontaminated sin are illuminated with dim whiteness seal the chaste spirit... Our yearnings are unholy ﬂesh with matter moaning sleepless travelling into the void our yearnings are ﬁlthy nights of darkness ignited with crackly spasms.

THE TEARs OF TIME The tears of time descends upon us playful streams animate the air the unknown looms in the far capsule you laugh, diabolic fodder and memory by moaning weeps far away, there in the hovel. We fastly chased the majestic course of life impassive you, lay before us ephemeral unpeaceful beings by cleaving shouts of whom will be in our tomorrow. from The Black Book of the Saber, 2009

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Picture 56 - Circe

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VIRGO FELLATIONIs Ancient omen of carnality of drenched ﬂavor splendor of spectrum still life to you... Virtuous man, let your potency succumb the materiality. Let's drink to the party celebrating into us tonight, time imprisons our voluptuous desires and captures the magicality of the inanimate. Nourish the insatiable voracity in the sight of the dark mantle rigor mortis and quivering coitus the marked pace of days. Wrap me into your phallus ﬂame me, virgo fellationis... from the The Black Book of the Saber Poem Collection, 2009

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Picture 57 - Medusa

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THE REAsONs OF bEING The reasons of being I analyzed to purify the ways of the spirit like water crunching in my hand to slide into the sandy terrain let us turn to the present motion of atoms circulating furiously by triggering the ﬂow of turbid and ﬁlthy waters.

VIsION OF RuINs The sharp screech from the uncontaminated ﬂame blazing in pleasure the decay caressed by harmony cradle the immersed atmosphere in the emptiness of darkness... It is sipped the unarmed time it is feared the pillory grim trace of ancient towers sighted in silence, It was an ember cloud... from The Black Book of the Saber, 2009

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Picture 58 - Linnaeus 113

Picture 59 - Pythagoras 114

Picture 60 - Magnes 115

Marine Nature (mixed media on canvas, 2019-21) The production entitled Marine Nature intends to highlight phenomena linked to climate change and the progressive advancement of environmental pollution such as global warming, desertification and plastic contamination, which give rise to a social reflection represented by the need to preserve waters, seascapes and marine seabeds. Artworks such as Desertification and Drought aim to represent the effects of atmospheric overheating and to highlight the process of depletion of the planet's water resources, so representing the drying up, the loss of primary sources of supply, focusing on the progressive increase in drought and on the advancement of uninhabitable areas through the recall to the importance of water conservation. The absence of water within the collection assumes a symbolic value representing the process of the earth's sterility and the loss of the primary vital resource. The artwork Plastic contamination instead focuses on the phenomenon of the accumulation of plastic residues that pour into the seas causing the death of countless aquatic species (plastic contamination). The artwork was carried out by means of the collection of waste found on the beach of Paola, in Calabria, and addresses the problem of the contamination of seas and beaches, focusing attention on the toxic effects that such waste produces on the environment in terms of costs: death of countless aquatic and plant beings, environmental and biological degradation, tumoral forms generated by the dispersion of plastic. The collection also has historical and psychological meanings. The theme of marine nature borns from the need to express one's sense of belonging to the sea and the consequent need to preserve marine ecosystems. The theme is linked to the contemporary production of artworks belonging to the Extinction. The artist's origin from the Calabrian territory, a region where the presence of the sea and the scenic beauty are combined with the rugged profile of the Apennine coastal chain, influences the way of perceiving nature and the perception of reality. Geographically, the Tyrrhenian area is affected by the phenomenon of volcanism, due to the crossing of the aeolian arc, which over the centuries has given rise to volcanic formations of ancient and recent geological formation, such as the stromboli and the submerged Marsili. In the artist's imagination, the marine world is closely connected to the image of water, as a symbol of intrauterine reunion with the mother. The sea brings to mind childhood memories, strengthens family ties, refers to the world of lost ingenuity. sea water erodes past memories, through a slow process of erosion. Marine elements such as sand, stones and shells represent the result of this process of mental erosion, sedimentation and biological stratification. The age of lost innocence returns to the conscious mind through the recall of the original aquatic world. The collection tries to combine the interest in different fields of knowledge:

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history, art of the territory, biology, geology and archeology. The artistic technique consists in creating a materic mixture made through the use of gypsum, sand, organic sediments such as shells, and inorganic substances of volcanic origin deposited on beaches and sea beds, such as pumice stone and fine clay. These materials are then mixed with fragments of anthropogenic productions (pottery shards, wooden fragments and pottery) in memory of the history of the peoples who sailed the Mediterranean (Greeks, Phoenicians, Etruscans, Romans). In some works (Abyss, Stratification, Sea depth) the presence of artefacts such as pieces of amphorae and wooden fragments, testifying to the skill of navigation, symbolising the remains of a wreck lying on the seabed. Historically, the theme of the seascape expresses the sense of belonging to the ancestral background of southern Italy, which is mindful of a process of historicalcultural stratification that has its epicentre in the Mediterranean. The study on marine nature describes this process of erosion of memories which, re-emerging from history overtime in the form of marine concretions and sedimentations also focuses on the theme of the sea, as a source of trade, a crossing route and crossroads of peoples, from the time of the first contacts between Enotrii and Mycenaean navigators. In accordance with the classic conception of “mare nostrum”, understood as the commercial hub of trade and exchanges between peoples belonging to the Mediterranean area, the marine nature becomes a symbol of erudition and civilisation. During the course of the late ancient age and early medieval age (4th-11th century AD) in fact, the arrival of the barbarians led to a change in the structure of trade relations between peoples, determining the closure of the seas and the blocking of maritime trade. Only at the end of the Middle Ages, the trade routes in the Mediterranean were reopened and revived thanks to the Norman navigators (11th-12th century AD), who put an end to the trade block imposed by the barbarians after the fall of the Western Roman Empire. The movements of the merchants favoured the reopening of trade and trade flourished again. The collection is a tribute to the Mediterranean and its history, evoking submerged memories which resurface.

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CRETAN sEA Cretan sea shining than light ignites the desire in my eyes the fool desire of the endless time.

GREEk FIRE In the dark and melancholic day that fades away wrapped into outline of ancient myths these impalpable words and melodies like petals fade away and in the warmth of the wind like Greek ﬁre dissolve. The port lives in its noises and the ships no longer depart for the sea of being just an immense expanse of clay the desolate embrace of life. from Cretan sea, 2009

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Picture 61 - abyss

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Ars Memoriae (2020) Dedicated to the beloved Janus, Ars Memoriae refers to the theme of loss and to the symbiotic communication between man and animal. The theme of remembrance expresses the need to manifest a pain that unites all living forms and that through the exorcisation of existential fears becomes the result of the process of acceptance of events related to contingent reality.

CARMEN For my beloved Giano... In a valley of tears me and him were faithful companions burning into the ﬂame of memory... Forever ever and to the ages of ages. from Ars Memoriae, 2020

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Picture 62 - rocky ravine

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TWILIGHT In the foggy blanket I was silent and lost. A thick mist comes down the bud would like to pierce the layer of snow sprout and bloom like a divine ﬁre. Autumns, winters and springs pass away while in the dawn light I am absorbed watching your image reappearing in the twilight blue.

THE LAsT FACE OF JANus The last face of Janus appeared in the morning fog the last face of Janus has disappeared into the darkness of a gloomy night now I feel an unbridgeable void indelible presence of my life. How much I’m gonna miss you just God knows... Miss you now and you will miss forever to this lonely heart. from Ars Memoriae, 2020

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Picture 63 - Sea depth

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EVOCATION Drawing the mountains outline by following the wave of emotions by falling down lightly on the carpet of leaves on top, in the autumnal fall. Where are you? that I no longer see I dream of you in the night and the sweet breath of your warm bed is missing so much I chase the wind among the murmuring soundy woods chants rising from altitudes unattainable calls absences that are felt, so present. I loved you more than anything more than myself. more than life... still miss you so deeply that the sea, the deepest ocean could not know... I look back I feel like I’m sensing your shadow following me. from Ars Memoriae, 2020

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Picture 64 - Stratiﬁcation

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Picture 65 - Sedimentation

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Picture 66 - Prints on the shore

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Picture 67 - Drought 128

Picture 68 - Desertiﬁcation

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sPECTRuM IN THE NIGHT Like a spectre I’m oﬀ to the streets of the night burning in the arson of sex.. There will be a soul that will take me far away from the horror of promiscuous orgasms? Faint illusions of power.. Arcane company of felines empathic friends bearers of divine messages... And in the delirium of art I believed miserable consolation of me unholy chasm of lucrative fornicators and kingdom of unclean wickedness. In the mist of the ether the soul screams far away towards worlds of rapt shadows in hermetic postures and ﬁgures wrapped in laconic looks... It borders on the imagistic... from Ars Memoriae, 2020

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Picture 69 - tectonic crusts

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bEyOND yOu to Ginuzzo, my heart and soul... beyond you is the immense we can't see beyond you the immeasurable sound abyss of dark deities and the puppy will recognize his path... and the guardians of the threshold will let him pass and his name will be remembered in art and love. Over there where the ﬂowers don’t fade anymore, beyond the elsewhere. from Ars Memoriae, 2020

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Picture 70 - Plastic contamination

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Picture 71 - antelopes

Engravings (2000-2002)

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Picture 72 - Chthonic deity

Picture 73 - Dragon 136

Picture 74 - Decoration with telamons

Picture 75 - animalistic decoration

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Picture 76 - Serpentine mask

Picture 77 - Warrior

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Picture 78 - Dragons in ﬁght

Picture 79 - Spiral of protomes

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Illustrations’ chronological appendix and artworks’ description

Twilight Collection (1997-2001) Picture 12 - Forest, (1997) oil on canvas, 50x70 Picture 9 - Persephone (1997) oil on canvas, 50x70 The artwork represents Persephone (gr. Περσεϕόνη) chthonic deity and queen of Hades, known in Roman mythology as Proserpine and Kore in the bucolic world, where the goddess presides over crops. Dante locates her in the sixth circle of Hell (“the queen of the eternal weeping” IX, 44), where heretics are placed. The subject draws inspiration from the late nineteenth-century gothic imagery adapted according to the style of the comics noir 70's. The goddess is in fact represented in a modern way, in her deadly carnality with a sensual combination of eros and thanatos. Picture 10 - Restlessness (1998) oil on canvas, 50x80 The painting represents the unconscious fears emerging from the depths. The artwork comes from a hallucination caused by the observation of a stone in which the artist glimpses a scary face. Along with the other works in this collection, it represents a troubled state of mind in which reside instinctive forces in opposition. Dark tones predominate. Picture 2 - Priapus (1999) oil on canvas, 50x100 The work represents Priapus, Greek-Roman deity, virility and fertility symbol. His cult dates back to the ancient Greece and it is believed to come from Anatolia. born from the union of zeus and Aphrodite, he would arouse the wrath of Hera, which for revenge would give the child a grotesque appearance and a giant phallus. because of his appearance and sexual incontinence, Priapus was soon expelled from the Olympus mount. In ancient Rome his cult is followed in the falloforie priapee long processions during which a mixture of water, honey and grape juice, representing the fruit of the divine seed, was poured on the ﬁelds propitiating the harvests. His divination was associated with the rural and bucolic world, the protection of ﬂocks, bees and vegetable gardens. The phallic-shaped stones were in fact used to delimit the plots of arable land. The artwork, performed by observing a model, was named this way for the position that recalls the act of fertilization. It represents the savage, the instinctive, the primitive, the beastly, the free from social conventions and superstructures. Picture 11 - Proteus (1999) oil on canvas, 50x100 Picture 3 - Infernal grip (1999) oil on canvas, 50x120 140

Picture 13 - Extinction (1999) tempera on cardboard, 60x80 The work illustrates one of the central themes in the artist’s path that will give rise to the next production: the extinction of living species. The painting focuses on the relationship between man and nature. Man feels the ancestral recall of nature, while his reflections, represented through a game of spiral brushstrokes, propagate all around in the form of concentric circles by incorporating the surrounding nature. some antelopes and a rhinoceros become confused in the bushveld through a game of spiral brushstrokes. The man in the foreground looks melancholy at the last specimens survived the extinction. Picture 7 - Selene (2000) tempera on cardboard, 60x80 Picture 5 - Solitude (2000) oil on canvas, 50x100 The work represents a male figure squatting on itself in a neutral background to indicate the sense of loss and deep loneliness due to homo condition. The painting, made in 2001, expresses a sense of bewilderment due to the looming of unconscious fears. Picture 8 - Prometheus (2001) oil on canvas, 50x100 Picture 6 - Epimetheus (2001) oil on canvas, 50x100 Epimetheus from the Greek Ἐπιμηθεύς (the one who sees behind) is an artwork realized in 2001 and is part, together with the Prometheus, of the first pictorial collection. The work represents the thinker Epimetheus portrayed posing reflectively to indicate the introspective character. The swirling brushstrokes give freshness and airiness to the work and symbolize the thoughts that, escaping from the body, propagate in the surrounding atmosphere, forming spiral motifs and smoke circles, allusion of the prescient spirit and the innate wisdom of the titan. Picture 1 - Introspection (2001) oil on canvas, 40x50 Picture 4 - The mystic (2001) oil on canvas, 50x100

Extinction Collection (2002-2021) Picture 28 - Damascus (1999) oil pastels on paper, 50x70 Picture 25 - Thinker and owl (1999) oil on canvas, 50x100 Picture 24 - African owl (2000) oil on canvas, 40x70 141

Picture 19 - Three-headed mask (2000) oil on canvas, 50x100 Picture 33 - Desert (2000) watercolor on canvas, 30x100 The painting is one of the five exotic watercolors realized in 2001. The subjects draw inspiration from some productions of exponents of German expressionism and retrace the stages of a trip to Tunisia. The chromatic background that comes from the combination of stains of watercolor, recalls the weaving of oriental fabrics and the wear of time. The desert and the figure of the thinker frequently recur for the evocative force exerted by the landscape and testify the consequent observation of the detachment of man from the state of nature. Picture 32 - The way to Hammamet (2000) watercolor on canvas, 50x100 Picture 34 - The two worlds (2001) watercolor on canvas, 40x100 Picture 35 - Casbah (2001) watercolor on canvas, 40x100 Picture 23 - Primitive Mother (2001) oil on canvas, 60x100 Picture 21 - Great mask (2002) acrylic on jute, 100x150 Picture 20 - Tribal mask (2002) acrylic on jute, 30x100 Picture 26 - Spotted hyaenas (2003) acrylic on jute, 60x120 The artwork represents spotted hyaenas in the night of the African savannah. The hyaena, animal subjected to social prejudices linked to popular folklore, represents the power of matriarchy and the strength of social aggregation. The theme recurs frequently in the artist production. Picture 22 - Company of masks (2004) oil on canvas, 50x80 Picture 38 - Carthago (2016) oil on canvas, 80x60 Carthago refers to the fire that blazed in the ancient city of Carthago (Punic foundation of 814 bC) destroyed by the flames of the Romans in 146 bC (end of the Punic wars). It represents an event that opposed East and West bringing the Roman hegemony over the Mediterranean. but what does fire represent in the pictorial imagination? The fire attracts, emanates, ignites, blazes, evokes, overheats, expands, burns, inflames, destroys, purifies. Fire is the element that symbolizes with its flames the elevation, the call to the otherworld, the fire of passions, the spell of transmutation of matter. Picture 16 - Kunene (2016) oil on canvas, 200x70 The painting was inspired by the majestic landscape of the kunene region in Namibia, to 142

which the poem collection The Coast of Skeletons is dedicated. The work summarizes the interest for different themes proposed within the artistic-literary path of the author: the theme of the road, the landscape beauty expressed in its essentiality, the call of nature. The artwork tells of the emotion arused by the uncontaminated wilderness that awakens in man the sense of sublime. The mountain colours fade into purple and their outline recall to mind ancestral forms and tectonic movements. A vibe of eternity dominates the natural scenery that stands out on the horizon. Picture 17 - Southern white rhinoceros, Ceratotherium simum simum (2017) oil on canvas, 60x70 The artwork was inspired by the spotting of a specimen of southern white rhino (Ceratotherium simum simum; species in the verge of extinction) in Etosha National Park (Namibia). The subject recurs frequently in the artist production by reffering to the progressive extinction of living species with particular reference to the regression in species caused by the illegal market of horns. The prehistoric beauty of the animal and the delicate chromatic combination make it one of the representative paintings of the collection. Picture 15 - Mount Meru (2017) oil on canvas, 100x70 Picture 29 - Cameliopardis giraffe (Tarangire, 2017) oil on canvas, 40x70 Picture 37 - Peacock (2017) oil on canvas, 50x70 Picture 18 - Striped hyaena, Hyaena hyaena (2019) oil on canvas, 70x50 The artwork illustrates the striped hyaena, one of the four most endangered hyaena species. Hyaena was known in the ancient world and was one of the first animals to be represented in the cave painting of primitive man and to represent the ancestral human fears. Ancient Romans called it Crocuta and they knew its nocturnal laughter, from which the term hyaena ridens comes. The striped hyaena evokes many superstitious fears because of reputed and documented cases of injuries to humans, killing of children and grave robbery. The species is often illegally killed because of supposed medical properties, therefore high prices are paid to be traded on the black market. It is widely exploited as an aphrodisiac utilized for traditional healing and killed because of damage inflicted on livestock. Indigenous cultures and folklore have always attributed magical properties to hyaena body parts used in witchcraft. The false beliefs about the hyaena's deadly nature and the contempt towards its eating habits have led to an indiscriminate persecution with an a regression in the species throughout its range (Hofer-Mills 1998b). Causes of mortality are poisoning, poaching, depletion of food sources, combat sports and hunting by nomads (HoferMills 1998, I. khorozyan, A.Malkhasyan, M. Murtskhvaladze, 2011). Hyaenas are clever, inoffensive, shy and elusive animals, compared to what does generally people think. Nowadays, people kill hyaenas for the generalized hatred 143

towards the gender. The love for this animal born in the childhood, when the artist saw for the first time the image of the animal on the alphabet book. The striped hyaena represents the power of matriarchy and the survivability in hard places, far from social aggregation conventional habits. The elusive and recurrent image of the hyena wandering along foggy coasts becomes a symbol of extinction, the central motif of both the collections Extinction (painting collection) and The coast of skeletons (poetry collection). Her ravenous figure embodies the image of ancestral human fears which force her to a wandering existence in remote and desolate areas to escape the persecution of man. Picture 31 - Reticulate giraffe pattern (2020) oil on canvas, 80x60 Picture 27 - Hyaena ridens (2020) oil on canvas, 70x60 Picture 30 - Kordofan giraffe pattern (2020) oil on canvas, 80x60 Picture 36 - Atlas valley (2020) oil on canvas, 80x50 Picture 14 - Rocky nature (2021) oil on canvas, 80x60

Italica Collection (2007-21) Picture 42 - Gigantomachy (2007) oil on canvas, 100x40 The only work realized in the decade 2005-2014 during a long period of pictorial inactivity, in which the artist is engaged in archaeological studies. The painting, inspired by the famous Etruscan funerary and vascular paintings, represents a gigantomachy with mythological figures inspired by the fantastic repertoire of orientalizing style (VII century b.C.). The two figures of sphinx and panther, refer to an iconography widespread in the ancient East, subsequently assimilated by Italic and Italiot workers. Picture 45 - Portrait of Lucius Iunius Brutus (2017) oil on canvas, 50x50 The artwork represents Lucius Junius brutus, the first Roman consul and founder of the first Roman Republic after the fall of the Etruscan dynasty of the Tarquins. The portrait is inspired by the Capitoline Brute, the famous bronze sculpture that is part of the Middle Italic statuary production (IV-III sec. bC). Portrait characterized by the great expressive force in its typically Roman connotations (hairstyle, profile, toga etc.) testifies to the “virtus” of the political man. Picture 47 - Caracalla (2019) oil on canvas, 50x50 Picture 39 - Tyrrhenus (2017) oil on canvas, 50x70 144

The painting is inspired by the famous sculpture of the Apollo of Veio, a terracotta statue from Etruscan archaic period attributed to the sculptor Vulca and coming from the sanctuary of Portonaccio in Veio. The sculptural group represented the struggle between Apollo and Hercules for the capture of the cerinite deer with golden horns, sacred to Artemis. Tyrrhenus represents the young leader coming from Lydia who, according to the historical tradition narrated by Herodotus, led the Etruscans in Italic land founding the Tyrrhenian civilization and giving name to the Tyrrhenian sea. The almond eyes and the “archaic smile” refer to the archaic style (VI sec. b.C.); age of prosperity, in which man lived in symbiosis with nature. In its static hieraticity it combines the apollonian character of the Cretan daedalic statuary, the expressive force of the Greek kοῦρος (a young follower of the Apollo 's cult) with the elegance of the polychrome Etruscan terracotta coroplastic art. The figure of the young man wears a regal tiara, a symbol of power and has braided hair according to the fashion of the time. Picture 44 - Head of Maenad (2018) oil on canvas, 50x50 The artwork is inspired by a head of Maenad dating back to the V-IV sec. a.c. which attests to the spread of Dionysian cults in the Italic peninsula. Along with satyrs and sileni the Maenads (also called Bacchantes or Naiads) officiated rites to the deity by constituting the Thiasus (ϑίασος), a cenacle through which they had access to the sacred fury (Μαινάδες from μαίνομαι “to rage”, Maenădes). sense of ancient and sacredness unite in this face rich in “pathos”. Picture 43 - Culsans (Janvs bifrons -2020) oil on canvas, 60x6 The painting depicts Culsans (Janvs bifrons in the ancient Roman religion), a deity of Italic origin. The work is inspired by a head of Culsans (Etruscan name that means door) dating back to the second century b.C. and found in the ancient city of Vulci (southern Etruria). As the historian Varro attests the god is considered creator of the universe and presides over the gates and passages. In the Roman world the doors of his temple were opened in time of war so that God could come to the aid of the people, while they remained closed in time of peace. According to the reform of Numa Pompilio, the etymology of the month of January dates back to his cult, which with the Julian reform of 46 b.C. became the first month of the year. Ovid states that Janus had his own home on the Janiculum hill which was named after him. The two faces of Janus look to the past and the future to indicate his oracular power. Picture 40 - Latona (2021) oil on canvas, 40x40 The artwork is linked to the painting depicting Tyrrhenus and is inspired by the same sculptural group of the Apollo of Veio decorating the columen of the temple consecrated to Menerva, in the archaeological area of Portonaccio in Veio. The goddess Latona, mother of Apollo, was represented there in the act of throwing an arrow against the snake Python and testified the high level of stylistic refinement reached by the school of the sculptor Vulca, to which the decoration of the temple of Jupiter Optimus Maximus on the Capitoline hill in Rome is attri145

buted. Picture 46 - Portrait of Emperor Commodus in place of Hercules (2021) oil on canvas, 60x80 The painting is inspired by the famous bust of the Emperor Commodus (19o A.D.) in the place of Hercules with the typical attributes of the hero: leontè (skin of the Nemean lion) and club. The work responded to a precise program of political advertsing aimed at the deiﬁcation of Commodus as the new Hercules and it marked the decline of Hadrian classicism in Roman sculpture. Picture 41 - Enotrus (2021) oil on canvas, 50x50 The painting is intended to be a celebration of the eponymous founder of ancient Enotria (present-day Calabria). According to historian Dionigi D'Alicarnasso Enotrus arrived on the Italic peninsula from Arcadia with his brother Peucezio as many as 17 generations before the Trojan war (during the Middle bronze Age - XVII sec. b.C.). There is no great archaeological evidence of the Enotrian people, except for the painted ceramics in geometric style. The painting is inspired by one of Riace’s bronzes, as evidenced by the characteristic features of the severe style.

Portraits in red and grey (2014-21) Picture 49 - Giordano Bruno (1st version, 2014) oil on wood, 40x60 The artwork is the starting point of the collection of Portraits in red and grey. Made in 2014 on wooden panel, represents the Neo-pythagorean philosopher Giordano bruno. The painting is inspired by the famous bronze sculpture placed in Piazza Campo de Fiori in Rome executed by E. Ferrari, masonic artist of post-Renaissance age. The austere expression of the face and the hermetic posture allude to the bashful temperament of the philosopher, whose work was put on the index of forbidden books by the Holy Inquisition. The flames in the background allude to the fire of knowledge and the stake that blazed in front of the crowd of bystanders on February 17, 1600. Picture 52 - Medea (2014) oil on canvas, 50x60 The artwork realized in 2014, represents Medea, a mythological character who gives the title to the famous Greek tragedy of Euripides. Medea is one of the most significant figures in Greek mythology. Described as a perfidious woman, Euripides gave her back her human face by capturing in Medea the drama of despair that leads to madness. It represents the revenge of love and at the same time the victim of betrayal. Medea's drama centers on love for Jason, a love that, once betrayed, will push her to the tragic epilogue of matricide. Endowed with human feeling Medea is nevertheless the heroine of suffering but also a being of mysterious and divine origins: sister of Circe and cousin of Hecate; numerous episodes within the tradition refer to her magical arts.

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Picture 59 - Pythagoras (2018) oil on canvas, 50x80 Picture 53 - Lorenzo the Magnificent (2018) oil on canvas, 60x60 The artwork represents Lorenzo de Medici, illustrious Italian patron of the Renaissance. The character stands as a symbol of the art and free thinking in fact the red-blue bichromy of the dress is an expression of the Florentine libertas. The subject is represented as an isolated figure in a neutral background, absorbed in an hermetic expression, to emphasize the need for psychological introspection. The cryptic look, the reflective expression emphasize the strength of character and civic sense. The somatic characters emphasize an austere beauty, made even more vivid by anatomical plasticism and chiaroscuro that draws areas of shadow on the face. Picture 54 - Frederick II of Swabia (2020) oil on canvas, 50x50 The work represents Frederick II, a famous historical figure belonging to the swabian family of the Hohenstaufen. Descendant of the Normans, he was king of sicily, Duke of swabia, king of the Romans, Emperor of the Holy Roman Empire and founder of the Ghibelline party. The elegant posture and the proud character of the face highlight a multifaceted nature and high royal dignity. Picture 55 - Nefertiti (2020) oil on canvas, 50x80 The artwork represents one of the most famous women in the history of antiquity: the queen Nefertiti.Wife of the pharaoh Akhènaton was a woman endowed with extraordinary powers, so much so that she was remembered as the lady with a luminous face. Research in the field of Egyptology has suggested that she came from a distant land and that, for a certain period of time, she was named co-regent of the kingdom. she was much loved by her people, and later revered in the guise of the goddess Tefnut. The work in question is inspired by one of the most famous portraits of the ancient world: the bust found in Tell el-Amarna in 1912 by the German Oriental society. The find was discovered inside a clay brick house of the time, believed to be the workshop of the sculptor Thutmosis. Made around 1340 bC, it presents the typical truncated conical crown, adorned with a golden diadem, a symbol of royalty. The painting, with its long Modiglian style neck, expresses grace and elegance and exudes a sense of solemnity and reverence. Picture 50 - Giordano Bruno (2nd version, 2020) oil on canvas, 40x50 Picture 56 - Circe (2020) oil on canvas, 50x50 Picture 58 - Linnaeus (2020) oil on canvas, 40x50 The artwork represents the famous swedish natural scientist Carl Nilsson Linnaeus. Lived in the eighteenth century, he is considered the father of taxonomy and the inventor of the classification of living organisms. The work is a hymn to natural science; the character represented 147

in a futurist style is confused with the surrounding nature of which he is a part. From the eyes come out luminous rays that allude to the power of nature, but its melancholy expression alludes to a silent misanthropy. Picture 60 - Magnes (2021) oil on canvas, 40x50 The artwork represents the Cretan shepherd Magnes, from which, according to Pliny the Elder, the word “magnetism”derives. In his “Naturalis historia” he tells that this shepherd walking on Mount Ida in Crete accidentally discovered the properties of the magnetite when his iron stick and the nails of his shoes were suddenly attracted by magnetite rocks. The work represents the shepherd with luminous and magnetic beams coming out of the eyes, symbolizing a force that is released. Picture 57 - Medusa (2021) oil on canvas, 70x700 According to historical tradition, the Gorgon Medusa was once a beautiful princess of Libya. The myth informs us that Athena, jealous of her beauty, transformed her into a monster with serpentine hair with flaming eyes with petrifying power. The enterprise of killing the Gorgon was entrusted to the valiant Perseus, who decapitated her by making her blood gush into the sea which suddenly generated corals. In the ancient Roman tradition his image had an apotropaic power and was used as a warning against enemies: his figure was placed in the form of an idol in defense of ports, in the form of a protome on the prow of ships and as a protective effigy on the shields of soldiers. The painting depicts her in all her seductive power, wrapped in the mist of mystery with floating hair in which snakes creep. Her figure has often been associated with that of Hecate/selene, goddess of the moon, due to her changing and enigmatic nature. The artist has chosen to represent the myth in its original beauty, without however renouncing to represent the dark and sensual side of the myth using the image of the Italian actress Ornella Muti for the realization of the face. Picture 51 - Dante's journey into hell (2021) oil on canvas, 60x80 The painting, created for the Dante Alighieri International Prize, is inspired by the commemorative monument created in 1865 by the sculptor u. zannoni and placed in Piazza dei signori in Verona. The artwork represents the great poet of the national literary tradition according to boccaccio's description “with a long face and an aquiline nose. (..) large jaws (...) and always a melancholy and pensive face”. The figure of the poet wrapped in the lucco, typical vest, stands out austere against the infernal scenery in its composure and reflective solemnity. In the background are represented the souls of the lustful, placed in the second circle of hell (Inferno, canto V). Condemned for having abandoned themselves to carnal sin and having suffered a violent death, they are enveloped in eternal flames and dragged impetuously from side to side by the currents of the infernal whirlwind. Among the figures represented are the two lovers Paolo Malatesta and Francesca da Rimini, held in a suspended embrace, and the Carthaginian queen Didone. 148

Marine nature (2019-21) Picture 61 - Abyss (2019) mixed media on canvas, 100x70 The artwork inaugurates the Marine Nature collection, constituting a hymn to the depths of the sea. The painting speaks of that sense of belonging to the seaworld that binds us from birth. The depths of the seabed and the movements due to the sea currents are rendered through wide stretches of blue and turquoise. The ocean floor is represented in its three-dimensionality, with rocks, crevices and marine plant forms. The artwork is realized with a basic mixture of plaster, glue, sand and marine sediments. The surface is painted with oil with additional final fixing paint that gives shine. Picture 68 - Desertification (2019) mixed media on canvas, 100x70 The painting, together with the work Drought, differs from the other works belonging to the this collection for the warm colors and the absence of water. The absence of the latter, in fact, together with the title, highlights the social message of the work. The torrid shades of red that pervade the atmosphere express a sense of aridity and deprivation of natural resources, due to the effects of global warming. The gradual advance of desertification is represented by means of a wasteland dominated by a Martian landscape in which only a few traces of life remain.Together with the work Drought it constitutes the starting point for an environmental and social reflection, conceptually reconnecting to the Extinction collection and referring to the advancement of phenomena related to global warming such as desertification, the growing expansion of uninhabitable and unproductive areas and sterility of the land. Picture 65 - Sedimentation (2020) mixed media on canvas, 100x50 Sedimentation talks about the imaginary journey in the history of the Mediterranean. The artwork represents the process of erosion of marine surfaces. The use of parts of inorganic substances is functional to represent the phenomenon of biological stratification and sedimentation. The painting is made by means of a material mixture based on plaster, glue and fine golden sand coming from the beach of Argyllos in kefalonia, Greece. Picture 64 - Stratification (2020) mixed media on canvas, 100x50 Picture 69 - Tectonic crusts (2021) mixed media on canvas, 80x60 Tectonic crusts represents the plasticism of the form, through the processes of formation, slippage and stratification of the geological plates. The dimorphism of the earth is expressed by its capacity for expansion/retraction. Telluric forms originating through plurimillenary phenomena in continuous dynamism express the sense of natural evolution that does not stop, but is constantly changing. Rifts open up within its crusts, allowing its intrinsic link with the fire to emerge, which from the centre of the earth rises up and flows in the form of magma to 149

create new geological formations on the seabed. Newly formed plates create new rocky surfaces and crevices. The earth’s crust becomes symbol of involucre, inside which contrasting forces and clods in collision shake by pressing on the surface and causing elevations and sinking. The vigor of the earth is expressed in clashes, implosions and explosions due to seismic pressures that become the image of human impetus, of the enclosure in which the passions are shaken and the senses are appeased by returning to the stasis of matter. The earth welcomes in its womb, generates, nourishes, fecund, transforms into vital energy, restores vital principles to the biological cycle, the eternal flow of time. Picture 66 - Prints on the shore (2021) mixed media on canvas, 100x70 Made by means of a material mixture based on plaster, stucco, grainy sand and fine golden sand, it testifies to the process of erosion of things, from which no earthly form is excluded. Footprints, traces, marks, impressions remain sealed on the surface subject to environmental erosion and the flow of a relative time. Erosion of human and animal traces, but also of testimonies and past memories. Traces destined to disappear, a sign of a passage that only art has the power to make eternal through memory. Canid footprints were used for the realization. Picture 63 - Sea depth (2021) mixed media on canvas, 50x50 Picture 67 - Drought (2021) mixed media on canvas, 60x80 The artwork is part of the Marine Nature collection. The theme stems from the need to express own sense of belonging to the sea and to preserve marine ecosystems. The artwork focus on the effects of climate change and aims in particular to highlight phenomena such as the progressive advancement of desertification, the expansion of uninhabitable and unproductive areas and sterility of land caused by the global warming. The scarcity and absence of water, evident in the work through the use of a warm and purple chromatism, represents the process of dessiccation, the loss of man’s primary resource while a dried up material crust represents a land now sterile. Picture 62 - Rocky ravine (2021) mixed media on canvas, 80x50 Picture 70 -Plastic contamination (2021) mixed media on canvas, 80x60 The artwork concludes the series of the Marine natures by focusing on sea pollution and environmental degradation, in particular on the issue of plasticontamination. The beach is represented as a dump of plastic waste in which are piled debris, waste materials and objects that reveal the advertising brand. Waste and scraps infest the waters of our seas causing the death of thousands of aquatic, vegetable beings every year, by indelibly contaminating marine ecosystems.The painting was realized with the collection of waste found on the beach of Paola (Cs) in Calabria.

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Watercolors Picture 48 - Poverty (1999) watercolor on paper, 34x29

Engravings (2000-2002) Picture 71 - Antelopes - acquatint 20x30 Picture 73 - Dragon - linoleography, 20x30 Picture 78 - Dragons in ﬁght - linoleography, 20x30 Picture 72 - Chthonic deity - linoleography, 30x20 Picture 76 - Serpentine mask - linoleography, 20x30 Picture 75 - Animalistic decoration - linoleography, 20x30 Picture 74 - Decoration with telamons - xilography, 20x30 Picture 77 - Warrior - xilography, 20x30 Picture 79 -Spiral of protomes - linoleography, 20x30

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Acknowledgments and publications Exibart press release for the personal exhibition, Four for Art Gallery, Rome, 2005 Trofeo Arte nel Mondo Prize - Painting section Il Quadrato Art gallery, Cesenatico (RN), 1997 Prize for painting M. Marchese Art gallery La Cuba d'oro, Rome, 2001 Honorable mention for Nature Art Competiton, Art Room Contemporary Gallery, uk, 2021 special recognition for Animals Art Exhibition, LightspaceTime On Line Art Gallery, usA, 2021 Aut, magazine for cultural diﬀusion of LGbT community, poetry section review, Rome, February 2005 International yearbook of Contemporary Art “Artisti 2021” Art Now& Mondadori store, review section for Painting and artist quotation “Arte & Mercato” section. The Twilight Collection in Marvelous International Art Magazine, Instambul (TR), March 2021 The Marine Nature into the Art Imaginary in Hidden Talents Collective Magazine, Arches Project, birmingham (uk), March 2021 boomer Magazine The New Artist, Artists, boomer Gallery, London (uk), March 2021 The Working Artist Magazine, III edition, photographic sect., London (uk) April 2021 The Working Artist Magazine, V edition, photographic sect., London (uk) June 2021 Catalogue of Vittorio Sgarbi Award, Artisti, vol. 1-6, EA Eﬀetto Arte, 2021 Art Now, Contemporary Art magazine, Painting section, June 2021 Flora Fiction Art & Literary Magazine, photographic sect., Freedom summer vol.2, June 2021 The Purposeful Mayonnaise International Art and Literary magazine vol.1 Honorable mention for wildlife photography Animals Art Competiton, Art Room Contemporary Gallery, uk, 2021

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Links & social media: website: https://www.vincenzocohen.com/ portfolio: https://spark.adobe.com/page/Ms9jyzzXCNt7v/ social media: https://www.artmajeur.com/it/vincenzocohen/presentation https://circle-arts.com/vincenzo-cohen/ https://www.facebook.com/vincenzo.cohen/ https://www.artjobs.com/op/artists/italia/45007/vincenzo-cohen https://www.artistdatabase.com/vincenzo-cohen https://www.premiovittoriosgarbi.it/vincenzo-cohen/ http://artweblist.com/vincenzo-curcio/ https://www.instagram.com/vincenzocohen/ https://www.instagram.com/vincenzocohenartist/ https://twitter.com/cohen_vincenzo https://www.youtube.com/channel/uCMuVhE8umsF07bP9sAy4hkg https://www.pinterest.it/VincenzoCohen/ https://ﬁlmfreeway.com/VincenzoCohen https://www.artpal.com/vcohen Environmental projects: https://platformeplanetearth.com/listing/seascape-and-waters-preservation/ https://mailchi.mp/64fdac14b193/environmentalism-issues-the-marine-nature-into-the-artimaginary?e=70bdd98937

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VINCENZOCOHEN Vincenzo Cohen (birth name, Vincenzo Curcio) is an Italian classically trained nature ar!st and pho tographer. He was born in Zurich (Switzerland) and a#er spending his childhood in South Italy he moved to Rome to undertake academic studies. In 2002 he graduated in Fine Arts from the Academy of Fine Arts and in 2005 he held his first Solo Exhibi!on. In 2007 he achieved the second master's degree in Archaeological Sciences from the "La Sapienza" University in Rome. Actually he works as Higher Educa!on Art Teacher in Italy. Polyhedric ar!st, his produc!on is the result of a con!nuous process of historicalscien!fic research addressed to the representa!on of cultural content with a naturalis!c and social background. He is involved in Wildlife Conserva!on and he o#en travels through Africa and Midle East to get inspira!on for his art produc!on. Over the years the ar!st has also dedicated himself to the composi!on of poe!c texts accompanying the pictorial produc!on. Much oh his work consists in reworking of life experiences by using diﬀerent media, through an expressionist style, by means of photography or through the combina!on of both techniques. His ar!s!c path is characterized by an eclec!c style and is divided into three core themes: the historical portrait, the wildilife ex!nc!on and the marine nature. Behind Vincenzo's prac!ce, there is great devo!on, dedica!on and suﬀering.

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