THE MYTHOLOGY IS INTRODUCED WITH «THE SACRED TREES».

THE OLIVE TREE OF APOLLO. THE GARDEN OF THE HESPERIDES, THE TREE THAT HOLDS THE GOLDEN FLEECE, THEY ARE ALL SUSPENDED BETWEEN HEAVEN AND EARTH, ARMED WITH TEETH AND IRONS, FORTIFIED AGAINST THE RAPACITY, EQUIPPED TO DEFEND, GUARDIANS OF PRECIOUS GOODS.

THE STONES ON WHICH BRANCHES ARE LEANING OR BRUSHING AGAINST ARE SPLIT FROM DEEP FURROWS, OR PLAIN, OR ENGRAVED BY ENCRUSTATIONS; ON THEM WERE APPLIED, OR TWISTED, SOME METALS.

I SEWED WITH INFINITE CARE, EVEN IF SOMETIMES CLUMSILY, LEAVES ON PAPER AND CANVAS, I HAVE TRIED, WITH MATERIALS THAT CONSUME IN TIME, TO STOP A MOMENT, A SENSATION, A THOUGHT, THE SPACE SUSPENDED BETWEEN THE MYTH AND THE DREAM; I TRIED, IN THE SUSPENSION OF THE FORMS, TO DETACH MYSELF FROM THE GRAVITY OF WHAT IS REAL, OF WHAT IS KNOWN, OF WHAT HAS NO SECRETS.OTHER TREES HAVE LOST THEIR DEFENSES, THE TREES WITH NESTS WRAPPED WITH MISTY YET SHINY FOLIAGE, CROSSED BY STRIPES, BY WORDS THAT CREEP INTO THE WEB  AS ARROWS. THESE TREES STAND FROM BASES,  OR EGGS, OR ROCKS AND DO NOT HAVE CONTACT WITH THE HUMAN, THEY DO NOT HOLD MOUTHS, THEY ARE NOT SUPPORTING HANDS, NO WORDS NOR PHRASES ARE HANGING FROM THEIR BRANCHES, BUT THEY ARE TESTIMONIALS OF AN ANCIENT HARMONY WHERE TREE, EARTH ,STONE, LEAF, NEST, ARE INDUSSIBLY JOINED, LIVING IN A WORLD WHERE THE HUMAN HAS NO SPACE AND TIME BEATS RHYTHMS UNKNOWN TO US.

CARTOUCHES ENTANGLED LIKE STREAMS OF WATER CAUGHT IN THE BRANCHES THAT THE RIVER CARRIES WITH ITSELF.

BRANCHES OF ROSEMARY SUSPENDED,ON THE BRANCHES STRIPS OF PAINTED CANVAS INTERTWINE WITH STRIPS OF COPPER, TREATED WITH ACID AND COLORS.

THE BASE IS MADE OF IRON,THE TRUNK “OF THE TREE” HAS PARTS WITH ARE TURNED AND WELDED, OF COPPER, BRASS AND RUBBER. ON THE SIDE A TOTEM SHAPED FORM OFFERS A STONE LIKE A LITTLE JAPANESE GARDEN. EVERYTHING IS LEANING ON A BASE OF IRON.

A BRANCH FOUND ON THE SEA SHORE, CLIMBING ROCKS ON BEACHES WHERE NOBODY GOES.

OTHER BRANCHES, THIN AND DUCTILE, PAINTED IN RED,ALGAE AS HARD AS TENDONS, ARE STRESSING MOVEMENTS AND THE FLOWS. THEY ARE TIED TOGETHER WITH STRIPS OF SKIN AND COPPER WIRES. A GREAT SPOTTED STONE, VERY HEAVY. TWO BASES OF IRON LIKE TWO ISLANDS. ON THE BIGGER ISLAND STAND SAC UP THAT CARRIES THE TREE. ON THE SMALLER ONE, A STONE ENCRUSTED WITH MARINE FORMATIONS. THE ISLANDS ARE UNITED BY  A DOOR OF IRON AND BRASS AND BY TWO STEMS OF COPPER.RECONCILING STOPS BETWEEN “TREE FORMS”, THEY MERGE THE MEETINGS; THEY ARE MADE OF METAL AND STONE, BEARING PAINTED TRACKS AND FAINTED WRITINGS, UNREADABLE, CONFUSED TRACKS WHERE THE TIME GONE BY AND THE WEATHER HAVE DELETED EVERY POSSIBLE READING. THE IRON PLATE, CORRODED AND ROUGH AS I THINK IS THE EARTH'S CRUST; THE SHINING DOOR, CREATED BY THE MEETING OF MANY METALS; IS THE GATE TO ENTER THE MYSTERIES OF THE FOREST.

A TREE STANDING SHINY AND THREATENING. IT HAS BIG FEET OF COPPER. LIKE PAWS. IT’S THE MYTHICAL TREE OF COLCHIS. THE BASE IS AN AFRICAN PLATE, THE TREE IS AN OLD DEAD BONSAI, AN EGG OF CHALK PAINTED AS BIRTH FROM CHAOS. TOOTH, NAILS, SECTIONS OF SHELL DISPOSED AS PROTECTION FOR THE FLEECE. CAUGHT IN THE BRANCHES, SOME GOLDEN LEAVES, AS TRACKS OF THE MYTHICAL FLEECE. AMONG THE BRANCHES, STRIPS OF COPPER, ETCHED AND PAINTED,BRING THE WORDS OF EMILY DICKINSON. THE TREE DOES NOT TOUCH THE GROUND, SUSPENDED IN THE AIR, BETWEEN MYTH AND POETRY. ON A DRY FLOWER THE TEXT BY E. DICKINSON.

LONE TREE THAT SAYS LITTLE ABOUT ITSELF, SOME TIES OF A METAL PAST, THE COLOR BLACK TO UNDERLINE THE FLOW OF THE LYMPH AND USED AS A SIGNAL OF CONNECTION. THE STONE DOES NOT HAVE MARINE EN CRUSTATIONS BUT IS FULL OF METALLIC INSERTS: LEAD, COPPER, BRASS, SMOOTHED,CUT, POLISHED. THESE ARE UNDERSCORES, FORCING, HANDLES, EYELET, PINS. LEAD PLATES TREATED AS STARRY SKIES, LIKE THE CUP THAT IS THE BLUE SKY, FROM THIS STANDS THE TREE. TWO BLACK EXTENSIONS, AS INSECT ANTENNAS, CONNECTING THE TREE TO THE STONE, ARE JOINING THE DIFFERENT WORLDS. ALL IS LEANING ON A BASE OF ELM, AS ON A READING STAND.

LIKE BASE AN AFRICAN WOOD, STANDS OF IRON, WOOD, BRASS, RUBBER, TURNED, WELDED. FROM THIS TRUNK ORIGINATES A NEST OF TWIGS TWISTED LIKE A CLOUD. THE BIG MASS CONTAINS REAL NESTS AND NEST OF COPPERAND STRIPS OF BRASS, ETCHED AND PAINTED AND STAMPED WITH A WRITTEN TEXT OF EMILY DICKINSON: “ EDEN COME CATCH ME SLOWLY...”

METAL LEAVES LINKED TO THE TWIGS COME OUT OF THE CLOUD, EXTENSIONS OF INVITATION.

NESTS OR CLOUDS? THE BASE ISPIERCED BY RODS, ARROWS OR SPEARS AS PROTECTION AND CLOSING.

THERE ARE ALWAYS GAPS FROM WHERE TO ESCAPE.

BRANCHES AND ALGAE, ENTANGLED AND TIED WITH COPPER WIRES, BRING BONY SHELL LEAVES, POLISHED, ABRADED, DRILLED AND RELATED TO THE BRANCHES OF THIS MILLENARY TREE. THE TRUNK OF THE TREE IS IRON, COPPER, STEEL, BRASS, RUBBER, TURNED, WELDED.

OLD IRONS WORN OUT FROM THE SEA, FOUND, POLISHED, TREATED, THEY PROJECT SHADOWS OF ANCESTORS, OF TEETH, OF FOSSILIZED REMAINS.

THE IRON BASE IS TREATED WITH COLOR.