(text editing in progress, I apologise for any mistake)


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* I recommend installing unicode characters to read the different alphabets that will be found later in the text.
The words in bold are links to reference links.


As the first revealing element of the work, the flag of the Earth is fluttering to the left, conceived and designed in 1970 by the farmer James W. Cadle, who later became an image of public domain in 2003, his design represents the world, a circle of water blue and without borders, in the black universe, flanked by the white ball, the moon, and the big yellow sun.
A girl with flowing fuchsia curly hair floats above the funeral sculpture of Paa Joe, a Ghanese artist who specializes in coffin personalization.
His art is not only to entertain and the intention is not to make people laugh, it is an artistic elaboration towards a serene approach to accepting death, with the sense of accompanying the deceased with style towards his next stage. His works are inserted in a community and cultural context already accustomed to this concept of overcoming death.

Just below, crowned with a Lei (traditional Hawaiian garland symbol of affection and hospitality) we find Boa Sr, one of the oldest members of the population of the Great Andaman (located in the Bay of Bengal) who was the last person able to speak the language Aka-Bo, extinct after her passing away in 2010. A little girl adorned with the traditional Greenland back cover (Nuilarmiut) made up of hundreds of colored beads, sits on the shoulders of a red-haired girl dressed in a colored silk ikat, her The face was inspired by the portrait of a Uyghur girl, a Turkic-speaking Muslim population, from the Xinjiang region of China.

Sitting down we find a woman dressed in swollen skirts, made of white lace worn during the religious celebration of the Orixas, the Candomblé, in Salvador de Bahia, Brazil.
What I wanted to represent with this figure is the absence of a dualistic concept of good and evil that is expressed during spiritual manifestations.
Besides remembering its archetypal complexity, the Candomblé has its origin in a traditional oral derived from the meeting of cultures Yoruba, Fon, Bantu following deportation during slavery.
On a Sicilian cart, repainted with decontextualized images, one finds that in the painting by Carracci depicts Bacchus, Ariadne's spouse, her hair is flowers of every kind whose nectar nourishes the hummingbird always beside her.
A bunch of banknotes showing the number 000 is displayed with impetus, valueless currency, and on his arm a tattoo in writing Baybayin writes ᜋᜎᜐᜃᜒᜆ᜔ "Malasakit" a concept that can be expressed with the English "empathy".
                                                                                                    MA LA SA KI T

The Baybayin abugida is the system of authentic writing of the Tagalog language in the Philippines, probably ancient since 1300, now in disuse and almost forgotten after colonization


A putto with flamingo wings crowning a man with a pandoro. The man takes Arianna's place of Carracci's painting, and wears a cape with a writing on it, which could be read at first glance as the most predictable "Cream (Cash Rules Everything Around Me)" or as I prefer to think that between the folds there is written Oream (which rebels as Opinions Rule Everything Around Me).
The wheels of the wagon on which he travels are engraved with five sentences.
The first one revolves around: ᑲᑎᒐᒃᑭᑦ ᖁᕕᐊᓇᖅ ("Katiruutarivagit", in the language Inuktitut means "nice to meet you") and ᒫᓂᒥᐅᑦᓴᔭᐅᕕᑦ? ("Maanimiutsajauvit" in the Inuktitut language "are you from these parts?") : sentences that express a convivial curiosity and that appeal to the observer.

In the sticks of the first wheel we can see the syllables ᏙᎯ Do-Hi in the Tsalagi language, the idiom of the Iroquois strain spoken by the native American population Cherokee (parts of the current North Carolina, Oklahoma, and Southern Canada) Do-hi in Tsalagi means peace and good health.
In the second wheel, in the sticks, always in Tsalagi the word ᏅᏓ Nuu-Dah which means "sun" or "moon", the meaning is the same, I chose this word for its interesting ambivalence.

The second wheel revolves around a phrase written in hieroglyphics belonging to the Mi'kmaq language, belonging to the Algonquian family of languages, spoken by the First Nations populations of the current Eastern Canada.
The Mi'kmaq alphabet is presumably a mnemonic system of symbols useful for remembering articulated concepts or thoughts, often the symbols were engraved on wood or bark, I wanted to represent and celebrate this method for ingenuity and inventiveness.
The phrase means " Why are all these different steps necessary?”and is represented as follows:


The decoration on the pony writes in Arabic متمرد which means "to rebel".
The gold jewel of the boy with the microphone is a work by Kali Arulpragasam, from the political jewelry collection "Terrorism Affects Tourism", which depicts as postcards the positive aspects of the countries tormented by the war, here is depicted the jewel of Haiti. The plumage adorning the boy takes inspiration from the costumes of the Powwow celebrations.
A child is intent on looking forward to the parade, wearing oversized pants with the emblematic graphics of Andy Takakjian made for the skater Mark Gonzales.


An angel enters a black hole, guided by a rainbow light, it is a dimension hidden or not definable by me, yet. The angel wears a work by the Haitian artist Moro Baruk, a mask created in papier-mâché of a toucan, as if it were a totemic emanation.
Holds in his hands the book of "Gentlemen of Bacongo" by Daniele Tamagni, which brings with it the new dimension.A woman applauds in celebration, as in Carracci's painting, one of the Maenads, is a woman with a multifaceted characterization, I drew from costumes Rashaida, population of Arab descent in Eritrea, and the surrealist costume designer Eiko Ishioka, the skirt however is drawn with the symbols of a celestial globe, representation of the first piece of furniture, with the related astrological meanings, image that is also found within Palazzo Farnese itself.

On the ground, on a silk carpet appear in Accadic alphabet , one of the oldest Semitic language used in Mesopotamia, two words that express "Allu" and "Sulmu", simple words of greeting.

ALLU                   SULMU
On the carpet lies part of the work of the artist Jennifer Lyn Morone whose work reflects on the attempt to establish the value of an individual in a data-driven economy. As an act of protest against the exploitative nature of companies and the growing data industry , the artist has registered as a corporation that sells his personal data, including photographs, home addresses, medical examinations in the form of packages or prepaid cards, divided by fields: economy, lifestyle, health, etc.
I chose the "identity" card.

A dancer of the Bolivian Caporales dance, cheerfully plays with a violet fluid that reveals a Nsibidi symbol, an ancient writing system from the Calabar region of southern Nigeria.

The symbol is the Chi


which has a very strong and complex meaning in Igbo culture (Nigeria of the South East), often referred to as a guardian soul or angel, or used to express the transition period of light becoming dark and vice versa, an indefinable concept that I wanted to represent, beyond to underline the often inability (not in negative terms) of words to express feelings or conditions, the Chi can also be the way in which a person is called in his non-terrestrial dimension. He deepens the Chi in articles by prof. Abiola Irele on the work of the Nigerian writer Chinua Achebe: "[...] The Igbo believe that a man receives his gifts or talents, his character [...] before coming into the world. It seems that at that point there is an element of choice at its disposal and that its Who presides over bargaining. Hence the saying "Obu etu nya na chie si kwu", often used when the misfortune of a man is somehow beyond comprehension and therefore can be attributed only to an agreement that he himself stipulated, at the beginning of everything, only with his Chi, because there is a fundamental justice in the universe and nothing so terrible can happen to a person for whom he is not responsible in any way. [...] ".


A woman floats sitted on a soap bubble or a sphere of light and liquid, floating with no gravity around, the sphere has no ups or downs, corners, edges nor even borders.
She holds two children in her arms and the tattoo impressed on her chest writes
the word ⵜⵉⴷⴷⵓⴽⴽⵍⴰ (Tiddukkla), which means friendship, written in Tifinagh alphabet, in Tamazight language spoken by many populations around the Sahara, although the origin of the writing is uncertain Tifinagh is linked to the Phoenician alphabet and has been present for more than two thousand years.
The word tifinagh is thought to be a Tuareg pun meaning itif ("discovery") and nnegh ("our") i.e. our discovery.
Tifinagh alphabet is transcultural, it can gathers and can express, since ages, different spoken languages from the desert.
As it's known, desert is continuously changing shape and therefore also its “borders”,
as the wind blows careless.
The golden balloons create a writing “ES” : can be read as the Spanish for IS or the modern psychology concept for the ES as "the voice of nature in the soul of person" or "the most archaic intrapsychic instance of our mind".
Gravity - the luminescent sphere, like all the planets are modelled by gravity, 
Air - the wind of the desert, which is also blowing through the woman's hair,
Helium - inflated in balloons, the second most widespread element in the Universe after hydrogen,
are natural elements which are playing an important role, even if invisible and intangible.
My self-portrait in the golden balloon.

I thank the Chatr bookstore in Marrakech who guided me in choosing the Tamazight dictionary,
Karim Metref for the revision of the Tamazight,
the Cherokee Nation for the correct writing of the words in Tsalagi,
Ate Loren for transliteration into Baybain,
and internet.

The interpretation and connection of each element of the work is free and open, my personal intention was to celebrate human eclecticism, a positive driving force, to remember something that I fear disappears (from the memory of dreams to languages), to cite artists that have influenced my thoughts, put the accent on ambivalence and ambiguity of words, hazard in design underground sensations, express the existence of different levels of reality, unknown dimensions that I would like to make familiar and in simplicity, enjoy them visually.