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. Artemis (the Roman Diana)as inspiration to philosophic Garden Design as well as to exciting magic paintings.

As gardens I have in mind my favourite London/UK Gardens ChIswick and Syon Park.Their creators have left for us explicit references such as a sculpture of the goddess in Syon Park and a wall painting in the temple-villa in Chswick Estate.

But my consciousness was fully aware about this relationship between philosophical gardens and Artemis only after I have seen several times the jewell work of art that is the film 'La belle et la Bete' by Jean Cocteau. After that, I 'discovered' Artemis even in the painting of Modigliani, 'La Primavera' Professor Feuvre, said once in a lecture I attended, that at both ends of the painting is depicted Hermes; one descending on Earth and the other ascending to Heavens. My partner said that to the right the sequel of Zephyr (representing the descending Hermes) united to the nymph of Diana or Aphrodite, produces the third image, flora, otherwise an ermaphrodite being witht hat naughty and enigmatic smile that set us questions ... I see Venus in the trio to the left, ususaly suposed to be the three graces, but there could be the three goddesses in competition for the apple offered by Paris/alias Hermes. their dance repre3sents the spiralic ascendance and the triadic form of Hermes trismegistos, acording to my reading of the painting. And recently I decided, that the figure in the middle of the painting, suposed to be Venus, is not really standing at the backgorund but she rather is slightely flotting above the ground and she is also bigger than all the other figures (if she was at the background, in the logic of perspective, she would look smaller than the others). She is also dressed up rather like a Madonna of the time. But she is Artemis in my eyes, or at least an icon between Venus, Artemis and Mary.

Venus is related to the Spring equinox via the resurection of Adonis and his return to her amorous arms. But Artemis is also strongly present int he3 imagination of the patrons and the works of art of 17th and 18th century, when these patrons are alchemists (as it was the starter of Syon Park), and massonic mystagogoi, (as it was Lord Burlington of Chiswick House and Garden).

Also recently another French man of arts and litterature induced me to the idea of Artemis in 'La Primavera' by Botticelli, whos patron was Lorenzo Medici. Then, in one of 'Les Filles du feu', Aurelie, Gerard de Nerval informs us that the patroness of the House Medici, was Dianna, goddess of natural magic and alchemy (Medici were originaly big and reach through pharmaceutical and colour production, by which they got also this family name). Yes, Artemis is not only the virginal tom boy hunter; she is also the hard judge of who disturbs her flora-and-fauna balanced cycle. She protects and she punishes; she is the Priestes par excelelnce upon every magic transformation of nature - and what is more spectacular than the ever renewd rebirth of Primavera? the spring time of young leaves, blossoms, birds and loving human hearts?

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My work Triangulation Series 2006-08 expands on questions dealing with perspectives synthesizing concepts of pictorial space and infinity: something I have worked on over the years. I have allowed painterly abstraction/plasticity to express both in form and content a kind of art that goes beyond a material world of signs; my paintings reach for the infinite—the mystery and the poetry in every man’s individual drama.  Though immersed in 20^th-century aesthetics, I neither strive for a specific historical movement nor for the postmodernist agenda.  Simply, I look at making art as a “fleshy” product of human experience, a resultant of the maker’s time. Just as idiosyncratic nature is blind to causality, an aesthetic frame embraces all its senses and the image is the result or residue.

Autobiographical, ritualistic, or even devotional—in this sense—the image or Kunstgegenstand seek not to explain what the meaning of experience is; rather, the image manifests itself, provoking interpretation.

There are no outside sources nor preconceived notions of the final composition. Gesturally and intuitively, I use the plane of the canvas as an active platform (in other words, a conversation, so to speak, takes place among the paint, the canvas and me as I apply paint onto the canvas.)  In variegated densities, layer after layer—transparent or textural—the work transforms itself gradually by spectral accruement. In continuous dialogue, I work on several pieces at the same time so all are able to inform the other. An inner rhythm from each composition thus unfolds and guides the shifts and the construction of forms: burials, resurrections, exaltations, veilings, reattainments—all thanks to the gritty and sumptuous nature of the medium; a moodiness arises from the interlocutors with its acrid qualities of dissonance and complementary transparency.  Indeed, it is color, as texture that establishes the emotional landscape of each piece.  The finished work stands on its own as a concentration of multiple layers; each of the numerous strata is essential to the completeness. There is a sense of multidirectional movement in each of the works that acts on the viewer’s eye as he/she glances over the delineated shapes and peers through the entanglements of strokes and arabesques.  The viewer comes away, I hope, with the sense of the works’ generative completeness of a universe making and remaking itself.

As I said at the beginning, I search for a degree of universality through the unifying mode from the masters of the classical West. It is they who lead me as I wander around in my space of today’s uncertain and leaderless being, where authority is seemingly derived from conflicting, confusing powers of disbelief. Freedom has come to us but its ethers and incongruities make us stagger.

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