In some of his most recent works the color is due to an oxidation of the copper leafs; a process that takes place in the making of the work. The oil often used for the depicting of human persons is old engine oil, which in its turn comes from petroleum (and hence from the heart of the earth) and from the work of man. What was once scrap material becomes material that has survived and gives witness: to the indissoluble bond between earth and man, to man’s relationship with machinery, and to the existence of contemporary man. Not only that, but these materials become a χρίσμα, (a chrism) namely characteristic signs used as a seal or stamp. They indicate the dimension of the sacred. In other words, they point to yet another “canonical” relation, albeit a non-denominational one. They remind us that if we are to understand ourselves and the world, if we are to embark on the fascinating quest for meaning, and if we wish to discover those arcane relations that intervene and govern all that exists, we cannot but open ourselves to the dimension of the sacred. It is precisely this pictorial material which paradoxically reveals to us that mysterious spiritual world that permeates all things.
Giovanni Intra Sidola