During the opening of the “Vivificatur” exhibition, a young man approached me and asked about the meaning of the painting “Eagle Vision”. I didn't know what to say. I could have simply replied that I had no explanation for the painting in question. As the two of us stood there in front of the work, I realized how arid and cold it is, for the first time I tried to find a reason for what I had represented. Seeing my hesitation, the young man insisted.

- Those brown lines, what do they mean?

With the objectification of one of the elements of the painting, it became even more difficult to answer him. As I looked at the painting and waited for some idea to pop into my mind, I saw on the other side of the gallery the installation, "Loosing the Big Picture" and at that moment the two works seemed to be connected by an invisible thread, both had been produced more or least at the same time. The reason for one was founded on the other. It seemed a good idea to start from there.

-You know, sometimes it's hard to understand the meaning of a painting out of a context of several works. This picture represents a landscape but what really matters is not the formal part of the landscape, this is a work in which everything that is represented has a symbolic value - as I spoke, he seemed to be a little confused and apprehensive, I decided to cut way - this painting is a work about absence - the moment I uttered that word his face lit up at once - I now understand the meaning of an empty bench in the midst of a devastated landscape - he said - but it is the absence of what? - After this question I thought it would be better to close the subject - it is not a personalized absence, it is the generic term, there is not something or someone involved - I concluded.

I apologized and moved on to a group of people nearby, hoping I would not have to continue to explain all the works.

One of the amazing aspects of painting is the possibility of being seen in multiple ways. I have confirmed this over the years and whenever I present my work, I have heard the most varied points of view about what others think they are seeing. Also in the studio, when friends visit me, the conversations usually go around the theme of the paintings. Sometimes the interpretation of someone coming from the outside is diametrically opposed to my point of view and the reason why it happens makes me think. However objective and concrete an image is, it is almost impossible to muster consensus on what is there, even when opinions do not go too far from one main idea, they always diverge at one point or another. The more subjective the work, the less rigid the contours of the image, the wider its meaning and the richer its interpretation. This margin of uncertainty is a fertile field where plastic and formal dimensions of painting multiply.

Like many other works, this one has antecedents in previous works and the most evident elements of the theme as the mountains began to interest to me from the first trip to the Pyrenees. The stone bench in the foreground is similar to those found in many natural parks in visitor areas. Positioned in strategic locations with high scenic attributes, banks are often the only sign of civilization in wilderness areas. The empty bench induces an invitation to the passerby and the first thing we think about when we see it at a distance is to respond to the invitation and look at the landscape, usually what we see is a particular setting that stands out from everything else. In the painting "Eagle Vision", this place is a distant mountain that seems to rise from a plain of ice. Between the bank and the mountain there is a river that crosses the painting horizontally from one side to the other and creates a border between what is near and what is far away. Clearly there are two worlds, which is on the side of the river, seems to be within reach of the observer and the other, farther, culminates at the top of the mountain in the distance. Whoever looks at the painting is induced to fill the emptiness that the bank represents. In a way, the absence weighs on the observer who tends to project his vision on what is beyond the river, the mountain is a distant goal, it is difficult to perceive its true greatness and just as in a dream, there is something symbolic in that presence that leads our gaze upwards. On the opposite shore there are several brown protrusions that look like trunks of fossilized trees, they are like beacons that rise from the ground to mark the center of the picture, there the terrain becomes more fluid suggesting that there is a passage of water coming from the melting of the mountain. This path is accentuated by the inflection of the protrusions that are folded outwards as if an invisible force pushes them away, the force seems to descend directly from the highest peak of the mountain and crosses the river line. These two perpendicular lines of force divide the space of the painting like the hands of a compass, the point at which the lines intersect corresponds to the focal center of someone sitting on the bench.

By the time I decided to give the title "Eagle Vision" to this work, the words had been hovering in my head for some time. This almost magical ability to see the world in high definition from above suggested that the eagles would have a perception of reality very different from any other animal. It was not simply a question of seeing better, it was a whole new texture of information that would be invisible to us, as it were in the painting, it was also a special filter that revealed aspects that could remain invisible if they were not materialized on the screen.

Today after a few years it is possible to rationalize the reason for the title of this work. At the time it was an intuition that combined something that already had in my mind with this painting, today it seems to me that it was adequate since the theme has scope to relate this capacity with the visual amplitude that is well visible in the image of the painting. The force that comes from nature is directed toward the point of observation of an absent observer. The look of this observer, if it were there, would be directed to the mountains in the background, which enclose the symbolism of transcendence. Although the path is not devoid of obstacles, it is well signaled by the current of water descending from the peaks which suggests that it can be considered that this ascent can be achieved. The mountains make the encounter of heaven with the earth and are often considered the abode of the gods, we can suppose that what the picture represents is a vision in which the possibility of transforming the absence into divine substance, that ascension to a state the purest is after all a legitimate desire since man was expelled from paradise and lost the possibility of living in a perfect world.