Reflections after the disaster 
The beautiful Renaissance terracotta, brutalized by the earthquake in order to repair but significant limbs , surrounded by fire brigades, recalls an altarpiece, evoked also titled: "Pala and Reunification." I did not know the author of the statue, Saturnino Gatti, and to inform andandomene, I found that originally it was a polychrome terracotta, which confused the color of the sensitivity of the model, which does not hesitate to call taste Botticelli. I would have liked to draw live, revive the glory days of my years in the Brera, but I had accontententarmi a good photo. The idea of \u200b\u200badding the group of fighters came to me for having seen them in the photo in question, taken in the field, and dial it had made over the centuries as groups of angels and saints was natural, as was natural to use background apse a dilapidated rifacentesi remotely Pala Montefeltro Piero. While working on the rubble at the foot of the composition, I was thinking about the cover of an album by Frank Zappa, "Where We Only in It for the Money", where, parodying the Beatles' Sgt Pepper, the Mothers rest on a landfill site considerable amount of food waste, and I feel that there is some link, although very remote and totally inadvertent on my part, or rather, the conscious part of me. Moreover, I have repeatedly argued that a kind of possession guides the work of the artist, in a state of mind which produces the only Charlie Parker, as the poems of Cecco Angiolieri.
Returning to the framework, the excuse to paint the beautiful Lady, is a reminder for disaster, and a tribute to the firefighters, for whom I have sympathy, knowing that intervene efficiently and without fanfare, as witnessed by the survivors themselves Aquila. The severed hands that can not either to pray or bless, denounced the inefficiency of the government, which is wasted in the person of Maximo Leader in high-sounding promises of reconstruction, largely unfulfilled.
But in the short term, Haiti was hit by a stronger quake that devastated island further
already full of humanity without hope. The painting was not finished, and it became obvious to dedicate my modest sign of disasters in general, those who lead assistance where needed, taking the Fire as a symbol of unarmed army that fights against suffering.
I am aware of the risks involved in using symbols and rhetorical tone of celebration, but I think it can provide a framework for thought about dramatic events, which is just not forget, just as you do not forget that painting is, what I'm doing.
In recent days, today is December 3, they're coming terrifying news of a cholera epidemic in the island of Haiti, with reports of hellish images of a tragedy made even more tragic senseless superstition, with suspected plague spreaders made literally in pieces, while adults and children, especially children, fall decimated by a nasty disease which they say could be eradicated with clean water, perhaps with a little 'healthy food. Any discussion
risk banality, and no images apocalattica ptrebbe be painted memento of this and all other misfortunes which assail humanity, the weaker party, while the well-fed should give very little to solve : I understand that there are plants that desalinate sea water, we send men and equipment, expensive means, to bring the massacres to defend ourselves, they say, from further bloodshed, and only handful of good people come to the aid that they can, when a massive operation, coordinated by skilled strategists that each nation "civil" develops, could in a short time, and spending less than it costs the most stupid of wars attualmrnte in progress, stop this hopeless war that humanity continues to lose, often without to fight.
For my kind of painting, oil pastel can be used to quickly make an idea of \u200b\u200bwhat could be a painting. Its dense material allows for color charges, overlapping with razor blade or scalpel and scraping, you can fade a shade inside the other, resulting in a texture reminiscent of the pointillist technique. No wonder that he could create his Zandomeneghi soft softness, embodied the vibrant, with a medium so basic. This confirms once more that the author is the artistic quality that determines the value of the work, not market value, mind you, that is self-regulated by canons, which often take into account any artistic value. Please avoid the merits, although in practical life, like everyone else, it subisco conditioning. 
