Wonders of the universe exhibition catalogue

GIORGIO TARDONATO P.zza Verdi, 2 - 22030 Eupilio (CO) – It http://www.tardonato.com

Studio Tablinum Cultural Management www.studiotablinum.com Alessandro Cerioli Project Manager Francesca Corsi Art Curator Elisa Larese Art Curator Camilla Oliveri Executive Assistant

ARTIFACT Gallery www.artifactnyc.net 84 Orchard Street btw Broome & Grand New York, NY 10002

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Sommario GIORGIO TARDONATO ............................................................................................................................. 4 ART’S EXHIBITS ............................................................................................................................................. 5 WHEN THE WONDERS OF THE UNIVERSE BECOME ART .................................................................... 6 ARTISTIC PERIODS AND SUBJECTS ........................................................................................................... 9 The “scientific period” ................................................................................................................................ 10 Jewels period .............................................................................................................................................. 11 The “myth of the origins” period ............................................................................................................... 12 The “crystal cut” period .............................................................................................................................. 13 The “transparent sculpture”........................................................................................................................ 14 The period of astronomical instruments: ................................................................................................... 15 Photographic works .................................................................................................................................... 16 Man is made to look at the stars. .............................................................................................................. 17 BACK TO BASICS ....................................................................................................................................... 21 OPERAS....................................................................................................................................................... 22 SOMBRERO GALAXY NGC 4594 (M 104) ............................................................................................ 23 M31 GREAT NEBULA IN ANDROMEDA ................................................................................................. 25 IC 5152 ....................................................................................................................................................... 27 ETA CARINAE............................................................................................................................................. 29 M 51 OF HUNTING DOGS....................................................................................................................... 31 SMALL MAGELLANIC CLOUD................................................................................................................... 33 SAIL’S NEBULA ........................................................................................................................................... 35 COMET WEST ............................................................................................................................................... 37 1989 ............................................................................................................................................................ 37 SOLAR WIND ON THE POLE .................................................................................................................... 39 GLOBULAR MASS M56 ............................................................................................................................ 41 THE FIRST BIG RADIO TELESCOPE ........................................................................................................... 43 SPACE TELESCOPE..................................................................................................................................... 45 ISS (Internazional Space Station) .............................................................................................................. 47 ANTENNAE ( polypthic in 6 parts) ........................................................................................................... 49

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GIORGIO TARDONATO

The painter has an impressionistic training. His kind of painting could be called “astronomical”. In his works we find stars, galaxies, comets, star clouds but also fanciful galaxies of antimatter, negative skies, and cosmic crystals.

For experts technically it's SPACE ART (by Chesley Bonestell (1888-1986)) Painting techniques are always in progress: oil on canvas or acrylics on canvas, brushes, spatulas, airbrush, inclusions, but also self made canvases, cuts filled with transparent resins and true gold inclusions, shapes: engraved or cut, transparent or opaque.

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ART’S EXHIBITS 1987: personal exhibit - Sella Gallery - Lecco 1990: personal exhibition - Villa S. Giuseppe - Erba (CO) 1993: group exhibition - Club Volta - Milan 1995: personal exhibit - Municipal Hall - Eupilio (CO) 1996: international group exhibition - Tain L’Hermitage - Tournon (France - dép.

Rhone Alpes) 1997: personal exhibit - Municipal Hall - Erba (CO) 2005: exhibit with a painter A. Zoppis - Municipal Hall - Canzo (CO) 2006: personal exhibit - Holiday Inn - Assago (MI) 2009: exhibit with a sculptor G. Melotti - Municipal Hall - Asso (CO) 2011: exhibit with a sculptor G. Melotti - Municipal Hall - Castelmarte (CO) 2013: exhibit Florence Biennale: Firenze 2014: April - personal exhibit - Studio Tablinum - Bellagio (CO) 2014: September - personal exhibit - New York City - Manhattan L.E.S. - Gallery ARTIFACT 2014: November - Art en capital - Grand Palais- Parigi

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WHEN THE WONDERS OF THE UNIVERSE BECOME ART “Among the many and various studies of literature and arts, on which human minds feed, I estimate we should cultivate more importantly, it applies with great passion, those that relate to things more beautiful and worthy of being known.

And these are the ones that deal with the divine revolutions of the world and the course of the stars, of magnitudes, distances, and the rising and setting of the causes of the other celestial phenomena, and that, in the end, explain their sorting. And what on earth is more beautiful than the sky, which certainly contains all the beautiful things? The state of the sky and the very names of the world: this with the name of purity and ornament, that of artistic chisel.”

Niccolò Copernicus (1473-1543) On the Revolutions of the Heavenly Spheres

The beauty of the cosmos takes on a particular value if it is enhanced by the work of someone who knows how to guess the union between the art form created by Man and another form of Art, mysterious flavor, made up of galaxies, remote solar systems and originated from the cosmos itself.

The wonder created by nature comes to intertwine in the infinite amazement that feeds the questions of the human being from its inception, pushing it in search of the mystery that gave rise to everything that surrounds us, it combines the creative force, thirst to discover ever new perspectives that is proper to the human and gives rise to a unique form of art that find in Tardonato a excellent demiurge.

The artistic movement of Space Art relies on an ancient and essential bond to science with art. We can find one of its happiest expressions in the works of that artist and astronomer Giorgio Tardonato.

Thanks to a genuine insight that makes to coexist the artist with the passionate man of science, we are accompanied by Tardonato, in an amazing journey to the discovery of the Cosmos.

The universe is generated according to mysterious laws that Men from all Eras have tried to find out with hard study and understanding.

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Probably it’s not enough to use the rational mind to fully understand why such beauty and perfection that regulate Universe have rules too amazing to be expressed only into mathematical equations.

The path marked by Tardonato following the suggestions of Space Art allowed him to build a consistent and culturally flawless career. Thanks to his mastery and spontaneity, he uses various pictorial techniques in order to be able to better shows the full bound with cosmic visions and knowledge related to the myth of creation. The spectator who admires his work is not alone in front of a beautiful work of art, but can also take advantage of a detailed astronomy lesson.

His operas offer to us an astronomical vision, icastic and true, without abstractions, that come from a real experience with a good telescope.

Started with the traditional technique of oil painting in the eighties, the beautiful galaxy NGC 1365, worked with brush and palette knife, it is one of the most sensational of his operas.

We can follow the evolution of his first technique to an unconventional shape, with the use of special cotton canvases and brushes, sometimes enriched by a skillful use of resins, gold foil, copper or aluminum.

All those special materials, allow us to create a three-dimensional effect that make his art unique.

One of the most stunning works created by Tardonato it is Antennae: A magnificent polyptich in six parts, with, enrich with beautiful glazes of color, able to condense in itself all the wonder for the Beauty and the Perfection of the Universe.

Two galaxies, 60 million light-years away from us, come to clash in an event of exceptional durability, a billion years, during which the stars of NGC 4038 and NGC 4039 are mixed, but never come into collision.

Their arms develop spectacular star-formation processes in which vortices of dust and gas become the beating heart of a millenary creation, come to us already older than 60 million years, that cannot fail to fascinate and inspire in us great questions and dilemmas. ŠStudio Tablinum

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His pursuit of perfection become a strong interpretive key for a works such as the First Big Radio Telescope, the Hubble Space Telescope, the core of the Antennae and latest creation, the international space station ISS. The origins of Mankind himself with its thirst for knowledge will are revoked by the shapes of our Planet Earth: the starting point from which it emerges the perfect amount of ISS, a real promise for Mankind to overcome their own horizons.

Elisa Larese - Alessandro Cerioli

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ARTISTIC PERIODS AND SUBJECTS

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The “scientific period” Those operas come from some of the most beautiful and famous heavenly bodies, together with phenomenon taken from the Earth. There are oils on canvas, acrylic, opaque or glossy paintings. Dimensions are relatively big. Peculiarities of these early works are: scientific accuracy with many details.

ANTENNAE (Poliptych into 6 parts) 2014 - Part: cm. 30x120 (total 120x180 cm). Linen canvas, acrylic paint worked with a brush, resin crystal.

Mars Cotton canvas, acrylic paints manufactured by brush, gold leaf

Aurora Borealis flickering (diptych) – 1988 – part 1 – cm. 100 x 120 - cotton canvas, acrylic worked brush, spatula and airbrush ©Studio Tablinum

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Jewels period The “jewels’ period”: we can see true shapes of rubies, diamonds, emeralds and other precious stones with their brilliant facets; inside the jewel we find galaxies or other infinitely big heavenly bodies. It’s the Macrocosm contained in the Microcosm of a crystal. These canvas are small, about 50 cm, but some of these are modular, becoming bigger.

DIAMOND SPACE NGC 1365 - cm. 84x60 - cotton canvas, acrylic paint with a brush and spatula worked (1996)

GALACTIC COSMIC BIRTH AND SEA - 4 unit parts - cm. 50x50 cad. (Tot 100x100), flax cotton, acrylic with a brush worked, gold leaf (1994)

PRIMITIVE SPACE CRYSTAL cm. 50x50 linen, acrylic worked with brush, gold leaf (1994) ©Studio Tablinum

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The “myth of the origins” period Those works display the hypothesis about the origins of the universe are realized with different solutions: traditional canvas, triptychs, and paintings on wood that can be opened like a window, gothic windows with History of universe. The all period is intended to stylize natural astronomic images.

Window big bang - cm 100x100 Double surface on the side pictures. They can be framed and hinged like a window - double-sided canvas of flax - acrylics, resin (1999)

ORIGINS OF PEARL SHELL WITH GALACTIC - 50x80 cm - double cotton canvas, Acrylic paint with a brush worked; crystal resin, gold dust and silver (2008)

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The “crystal cut” period Includes diptychs, triptychs, separate canvases. The draw is given by a cut in the canvas, the colour is in the resin that fills, includes, covers with an absolutely glossy effect. Could not load widget with the id 90.

Poliptych: Progressive Wave (2009) - the Universe evolution

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The “transparent sculpture” It’s a sculpture made of the same transparent resin that covers some canvases, but here it’s the material who gives body to the idea, to express the Space’s wonder.

GINKO BILOBA FOSSILE (TRASPARENTE) - cm 73x34x4, peso 2,4 kg - resina Crystal Gedeo colorata e modellata, filo di rame. 2005

SCULPTURE OF GALAXY (CLEAR) - cm. 86x62x18-Gedeo Crystal resin colored and patterned (2005)

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The period of astronomical instruments: The means by which we seek answers in the cosmos far or near they are represented in artistic form. There are deep-space radio telescopes, who are investigating at distances such that the galaxies are seen only in radio waves; by computers can reconstruct images in color coded.

These tools are made with wire mesh, so were used shapes of metal stuck to the canvas with transparent resin. There are optical telescopes, both on land and in space, small and great, but all returned spectacular images. The recorded light can be what our eyes see, but also invisible to us, reconstructed by computers and sensors. There is the great International Space Station, Always inhabited, Always-on experiments and observations. So the man goes beyond their physical limits and it seems right t make a tribute to the art technical tools, old and new, that we offer so much beauty.

ISS (International Space Station) (Poliptych in 4 parts) 2014 - part 1: cm. 30 x 120 + part 2: cm. 30 x 120 + Part 3: cm. 30 x 120 + part 4: cm. 30 x 120. (Total 120 x 120 cm). Linen canvas, acrylic paint worked with a brush, aluminum, copper, resin crystal.

VLA RADIO TELESCOPE - cm. 50x100 - cotton canvas, acrylic paint with a brush worked, paper and aluminum wire, stainless steel and copper, crystal resin (2011)

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Photographic works Photographic works: to bring a people that seek into art original works, but small and convenient, the author has carefully photographed partial areas of their work. He developed the computer images, with non-repeatable, printed with their own professional-quality inks and papers. The prints are unique or repeated in 5 copies, to maintain the value and rarity of artistic creation, even in digital form.

Photographic details from M56

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Man is made to look at the stars.

Eclecticism does not seem to be a distinctive tendency nowadays, so far from that era when an artist was also a scientist, with a breadth of knowledge in both fields. However, Giorgio Tardonato’s marvelous works give us the impression to be before someone who deeply knows science and astronomy in particular. His paintings abound with starts, comets, cosmic clouds as well as fantastic antimatter galaxies, cosmic crystals and negative skies…a truly “impressionist” vision of Space.

Giorgio, first of all I would like to talk about your activity as an amateur astronomer. Over the last few years, you have contributed to divulgate astronomy from both a cultural and practical point of view, offering your collaboration to a series of public initiatives. How do you combine this passion with art? Do you see art as a way to divulgate astronomy?

Man is the only animal who can look at the sky. Others can do it through an unnatural effort, whereas for mankind is almost spontaneous. Astronomic observation has guided the history of human society, and now that we can really know the depths of the universe, few people seem to be interested in the sky. We rediscovered the ancient amazement as soon as we are far away from artificial lights. I noticed it during all the initiatives of sky observations organized for the public, even when there were not any instruments, and all we had was the name and picture of the stars. Beauty and amazement mark astronomy divulgation, even in its more simple terms. Art nourishes itself with the same things: beauty and amazement. I simply combined two passions, cultivated since my early age.

I still keep abreast of science, experimenting painting techniques blended with scientific hypothesis in order to represent old and newly discovered objects, picturing how they could be.

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Your painting has been defined as “astronomical” or belonging to Space Art, a style that the American artist Chesley Bonestell (1888-1986) first developed with a series of realistic scenarios for future spatial explorations, often carried out by NASA, with an extremely figurative slant. Meanwhile in Europe, the same style was tending towards a stylization of abstract shapes, following the example of Futurism. Did you have a specific source of inspiration for your works in this sense?

Bonestell for sure, firstly known when I was a child and my mother was helping me collect Liebig sticker. This was the series I liked the most. The encounter with dear Ms Adriana also played a fundamental role: she was the painter who has taught me how to paint for 12 years. Both Italian and French, she had studied at the Academy of Fine Arts in Paris and had an impressionist mark. At the end of my course, she suggested that I should have specialized, carefully choosing what and how to paint afterwards.

The first astronomical painting was made together, painting the hydrogen clouds of Orion Nebula in a similar way to those of an impressionist landscape.

In your works you experiment a great variety of materials and techniques: from oil paintings or acrylic on canvas to diptych and triptych, as well as statues in transparent resin and photography: every time you manage to represent, with scientific rigor, wonder and astonishment for the Universe. How much time does it take to find the right way to represent such a distant world, to which we however belong?

At the root of each painting there is the knowledge of the subject. Each painting is unique, I never repeat myself. Technical difficulties are due to the fact that celestial bodies are bright, without embracing the contrast of lights and shades which is the base of normal paintings. I must represent a source of brightness and shape its depth: I work out this problem in a different way every time. I study books and magazines and I surf on the Internet; for every subject I never use only one image, but I combine different images with the sensation of being on a spacecraft, close enough to feel their own depth. Finding the motivation to realize what I have in my mind can be very hard, and it requires the same amount of time than experimenting different techniques and materials, in order to reach

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positive outcomes. At times, I am surprised myself by the final aspect of the work.

It is true that reality overcomes fantasy.

Tell us about your experience at new Florence Biennale 2013 where you participated with our studio.

In Florence, I was pleasantly struck by the high quality of the exhibited works.

Contemporary art is often an exhibition in negative. In Milan, Rome, Venice, Rovereto (MART), Paris, Stockholm, Amsterdam, Berlin, London I saw denouncing works, even strange and original, complex and difficult, which never represented the idea of beauty and positivity that Art should convey. On the contrary, Florence Biennale 2013 astonished every artist who I could talk to: we enjoyed each other’s company and we felt absorbed in that kind of futuristic atmosphere with the same harmony that pervades Florence and makes it unique in the world.

I often wondered why in Italy we keep organizing retrospective exhibitions, looking at the past as well renowned works, rather than investing in the future and in everything that can enrich our patrimony. This Biennale has provided a good answer. The professional assistance of Studio Tablinum was a discerning factor between do-it-yourself and professionalism. Despite the little space dedicated to my paintings, Alessandro’s work generated such visibility that important Galleries were interested in my paintings. I am also thankful to my graphic designer (studio Sintesi) for the effective leaflets.

You also have a double experience with photography: on the one hand you work for advertisements and documentaries, including videos for both state and private companies; on the other hand you are responsible for artistic production. Has your love for photography influenced the way you see things and thus your analytical way of reproducing Space?

Professional photography requires the same skills of a painter, technique and carefulness. I was able to observe images through the telescope and elaborate my own canvas, transforming them into digital artworks. Experience and technical equipment (purchased thanks to a couple of advertisements for a few clients) gave ©Studio Tablinum

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me the chance to develop, balance the equipment costs as well as acquire IT skills, which are also necessary for astronomy. These two things are complementary and I devote myself to both: sometimes art, at other times photography. Every change implies new solutions.

Together with several groups of amateur astronomers, you contributed to the foundation of the national association Cielo Buio, promoting the protection of nocturnal sky – part of Human Heritage – as well as other landscapes and cultural assets around the world. You therefore combine the artistic activity with the conservation of existing assets, enhancing your “eclectic” nature. In modern artistic contexts, is the lack of conservation or that of creativity that causes more risks?

I organized several conferences, even for state bodies, regarding ecological solutions to night lighting, both to save energy and see stars again. This is a long cultural evolution. As long as nocturnal sky is not important for a vast majority of people, laws will not be able to protect it. The light that we need to walk at night should not darken the stars nor blind our eyes. The starry sky has been declared Human Heritage, but I would rather say that Earth itself should be considered heritage of the starry sky.

Those men who do not look at the sky are forgetting that they have no power, neither to create nor to destroy. They can only choose if they want to indulge nature or if they prefer to find easy and direct solutions, following their own wishes and harming themselves.

Modern Art, in the past as well as in the future, has the aim of representing a problem, an idea, a myth or a hope. The artist shows the right way on behalf of everyone else, sometimes before than everyone else.

If people accept art proposals, art gets successful. However, people often understand art message afterwards and only those representations confirming the existing world are successful.

It is not the artist the one who is risking, but spectators to artists’ works are those that can choose to accept or refuse novelties.

Article written by Francesca Corsi Published online www.studiotbalinum.com

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BACK TO BASICS The exhibit at Artifact Gallery in New York represents a particular “homecoming" for the artist Giorgio Tardonato. It will surprise you to know that he never exhibited in the United States: what it means "back to basics"? We can talk about a “come back” because his operas are result of a logical consequence, of a decades-long work of scientific research and observations of the cosmos.

These works could only reach the United States: the Nation that gave rise to the space program, with missions such as the Apollo, which they did make strides humanity and not only in terms of scientific discoveries If today our life is facilitated by major technological innovations is good to know that this technology would not exist without space research.

We could said that: "Wonders of The Universe" represent a major milestone in the artist's evolution of theory and technique.

Based on the results of extraction indelible symbolic, such as the Big Bang theory, the work of Giorgio Tardonato tends to overcome the limits of practicality realistic for trespassing, with boldness and wisdom, in free associations of key elements and together scientific, thus assuming results attributable to the disruptive forces that shaped the Cosmos. Giorgio Tardonato’s art tends to overcome the limits of concrete scientific representation and exceeds, with boldness and wisdom, in free associations of symbolic and scientific key. In this way, his works convey all the greatness of the explosive forces that shaped the Cosmos.

Alessandro Cerioli

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OPERAS

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SOMBRERO GALAXY NGC 4594 (M 104)

1986 cm. 100x802,5, tela di cotone, colore a olio, lavorata a pennello e spatola.

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The Sombrero Galaxy is a “spiral galaxy”, surrounded by a circle of dust; it has a bigger and brighter bulge like curving arms. It is similar to a “sombrero”, the Mexican hat, and for that it is commonly called so.

The Sombrero Galaxy leans out of the canvas because the sombrero's brim is the widest even if not the brightest part of that galaxy. The bulge is the most important part for an astronomer because, with its light makes possible to study a celestial body. It is 30 km far away from million of us and it's collocated in Virgin's constellation.

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M31 GREAT NEBULA IN ANDROMEDA 1986 cm. 100x100x2,5, Cotton canvas, oil worked with a brush ŠStudio Tablinum

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This spiral galaxy is the twin sister of our galaxy.

Considering its form, the dimension, the age and other characteristics.

We can use Andromeda like a mirror of our Galaxy and we can study hypothesis about it. Andromeda Galaxy It is of 2.5 million light-years far away from us and is located in the Andromeda Constellation.

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IC 5152 1987 cm. 90x70x2,5, cm. 90x70x2, 5, cotton canvas, acrylic worked with brush and airbrush.

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This spiral galaxy is similar to our galaxy but this spiral is more circular. These two galaxies are part of the “Local Group”. Its color reveals the presence of gas which creates new stars.

It is 5, 5 million of light years far away from us and it’s visible in the Indian’s constellation in the southern hemisphere. Its activity and the distance help the studies of the astronomers.

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ETA CARINAE 1988 cm. 90x90x2, 5, cotton canvas, oil worked with a brush.

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The stars grew up into a big nebula. They have a lifecycle which create new words thanks to the elements which come from the explosion of stars at the end of their lives.

The Eta star of Carena, the big southern constellation (the Argo ship), is creating a source of new life around her in preparation of its own Supernova explosion (after the imminent catastrophe).

It’s a hypergiant variable blue star, (probably is double) 8000 light- years far away from us.

It’s big and very close to us. An important object of study for astronomers.

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M 51 OF HUNTING DOGS 1988 cm. 100x80x2,5, tela di cotone, colore a olio lavorato a pennello e spatola.

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Here are represented two near galaxies, together are called “Vortex Galaxy”. The biggest and the smaller have created a bridge of hydrogen, dusts and stars which united them.

Thanks to the telescopic visions we can observe the two bulges which are brighter in the spiral part because contains lots of young azure stars. It’s visible under Alkaid, the last star in the tail of Ursa Major.

The distance is about 31 millions of light-years. It’s in the Hunting Dogs’ constellation.

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SMALL MAGELLANIC CLOUD 1988 cm. 100x100x2,5, tela di cotone, colore a olio, lavorata a pennello.

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The Small Magellan Cloud presents an irregular shape due to the attraction of our galaxy, it has a semi-transversal position.

This galaxy is close to the second satellite, the Great Magellan’s nebula. Together they will be attract into our galaxy without catastrophic events because the distance between the stars is so large that the possibility of collision is quite absent. It’s situated at 197.000 light-years far away from us. It is visible also with a naked eye in Toucans constellation, in the Southern Hemisphere.

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SAIL’S NEBULA 1988 cm. 100x120x2,5, cotton canvas, oil worked with a brush

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This Nebula is similar to a bubble of gas big and soft but also complex due to its colored gas layers which have a prevalence towards red.

A supernova star is exploded at the end of its life and sows the space around her with dusts and hot gas which will give birth to young stars. Its name, given by its discoverer, is GUM 16. It’s in the Sail’s constellation, the ancient part of Argo’s constellation which now is made up in: hull, stern, sails and compass.

The dynamic impression of the rush is exalted with the figure which comes out from the canvas, to give the feeling of infinity.

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COMET WEST

1989 cm. 70x50x2, 5 linen, worked in acrylic brush and airbrush

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That comet was variable and could be seen by naked eye in 1976 when it is passed to a distance of 30 km from us.

Its tale colored in light and warm azures - seem to be those of lots of comets.

This canvas represents one of the world's oldest celestial bodies; some scientific hypothesis claim that comets brought on Earth some nutrients useful for humans lives.

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SOLAR WIND ON THE POLE 1990 100x80x2,5 – gr. 1900 Cotton canvas, acrylic brush and airbrush work

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An “aurora” is a wind of particles ionized by the solar wind which make shining the rarefied gas of the high atmosphere around the polar circles. These gas create a circle around the Poles. During the winter solstice this phenomenon is visible to the naked eye by anyone around the Polar Circle.

The winter solstice is on 21st June for the South Pole.

This opera include an iceberg, typical of the southern polar cap.

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GLOBULAR MASS M56 1994 cm. 100x100x2, 5 Cotton canvas, acrylic worked with brush and airbrush

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The globular masses are the oldest group of stars: for that there is a little bit of free hydrogen, to permit the birth of young stars. But the last telescopic observations record a more intense activity compared to the past. This is one of the most beautiful globular mass and this image is the result of a personal observation with a big telescope. The dropper technique has been used for the first time in this canvas, with the brush and the airbrush, to create the effects of the light. Is situated in Lira’s constellation, with a distance of 3300 light-years.

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THE FIRST BIG RADIO TELESCOPE 2010 cm. 100x80x2, 5 Cotton canvas, acrylic worked with a brush, paper and Aluminum mesh and copper, resin crystal ŠStudio Tablinum

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Parkes RADIO TELESCOPE nowadays

The first big (64m of diameter) radio and adjustable telescope is Australian because the southern hemisphere is directs to the central region of the Via Lactea which has an intense activity. This tool, in 1969, transmits the images of the Moon landing due to his capacity to receive weak signals.

In the background is represented the radio map of a pulsar star.

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SPACE TELESCOPE 2013 cm. 120x30x4,

Linen canvas, acrylic worked with brush, aluminum, copper, steel, resin crystal. ŠStudio Tablinum

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A view of HST from the Space Shuttle

This opera is a tribute to the Hubble Space (HST): it is the only optical and orbiting telescope. Launched in 1990 with the shuttle Challenger today is already working even though modifications and substitutions of optical and electronic parts as it has never been done before. The scientific and photographic results are exceptional: the Space was never seen with this high quality before.

Technically is a Reflector telescope Ritchey-ChrĂŠtien, the diameter of the mirror is 2, 4 mt and the focal length is 57, 6 mt.

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ISS (Internazional Space Station)

Polyptich in 4 parts) 2014 Part n.1: cm. 30 x 120 + part n.2: cm. 30 x 120 + part n.3: cm. 30 x 120 + parte n.4: cm. 30 x 120. tot. cm 120 x 120).

Depth cm 4. Middleweight gr. 2425 x 4 (tot. gr. 9700) Linen canvas, acrylic worked brush, aluminum, copper, steel, resin crystal. ŠStudio Tablinum

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.

The International Space Station is a unique laboratory for lots of sciences. It completes an orbit around the Earth in 1,5 hour, is as big as a football or a rugby field and is inhabited by 3 astronauts. The astronomy is the most important science to be studied here but is done also medicinal, chemical, electrical, biological and physical experiments. Lots of possibilities are given by the external Environment to the Earth in microgravity. Here will be planned the future human interplanetary missions and in the canvas is pictured the last mission of the Shuttle Atlantis in berthing phase (2011).

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ANTENNAE (polyptich in 6 parts)

2014– Part n.1 – 2 – 3 – 4 – 5 – 6: cm. 30 x 120 (tot. cm 120 x 180).

Depth cm 4. Middleweight gr. 2425 x 6 (tot. gr. 14500) Linen canvas, acrylic worked brush, resin crystal.

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This work belongs to the scientific period and represents a collision between two galaxies placed at 60 million light-years away in the constellation of the Raven (southern hemisphere). The name comes from the gravitational deformation which the two original spirals’ arm have, like the antennae of an insect. During the long event (1 billion years), the stars of the two galaxies NGC 4038 and NGC 4039 do not collide; instead their clouds of gas and dust frequently trigger the processes of stars formation, especially in the central area, which is represented in this work. This canvas is modified compared to the imagines that came to us which are already older than 60 million years. It is a free artistic interpretation.

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