“ I saw God face to face, yet my life has been saved.”
I chose to use the Latin version because a dead language, no longer used for ordinary communication, is more evocative, more appropriate for entering the symbolic, myth, mystery, and collective unconscious.
I inserted the inscriptions low down, as captions, at the bottom of the scene, to note that the author of the text is recounting an event at which he is not present. Writing, on the other hand, fixes the memory of an occurrence, and reading brings to mind that lived experience, but the images powerfully reiterate the physical emotions of the real scene, upstream of any intellectual process. The observer ' s involvement is more concrete than mental.
The color of the writing is similar to that of the background, so as not to overpower the scene. The initial letters are lighter and contrasted to make the writing vibrant. It recalls somehow ancient usage, recurring among copyists, to characterize the illuminated initial letters with respect to the text in black.
To sign my paintings of the last few years I have used a sort of red signature inspired by the tradition of Chinese or Japanese stamps, though completely Westernized in form and execution. The position of the seal in the East, although it follows precise rules, is always integrated into the composition of the work. So it is also in my case, especially in the triptych, the positioning of the marks accompanying geometric shapes in their upward
development. Beneath the seal there is a box with the date and three lines, two broken and one unbroken.