As a gift to a friend and neighbor, I painted the old tool shed in the courtyard which was used to store garden furniture into a byzantine chapel with traditional pigment the way it's been done for centuries.
The curtain around the wall symbolically separates the material and spiritual world. It's an often seen motto in orthodox churches like this one in Mount Athos.
The mandorle on top of the door is inspired by this italian renaissance representation of the Boboli Gardens at the Palazzo Pitti in Florence. It pictures the property,the building, the land around and a romain fountain found by chance in the middle of the meadow.
As a gift to a friend and neighbor, I painted the old tool shed in the courtyard which was used to store garden furniture into a byzantine chapel with traditional pigment the way it's been done for centuries.
The curtain around the wall symbolically separates the material and spiritual world. It's an often seen motto in orthodox churches like this one in Mount Athos.
The mandorle on top of the door is inspired by this italian renaissance representation of the Boboli Gardens at the Palazzo Pitti in Florence. It pictures the property,the building, the land around and a romain fountain found by chance in the middle of the meadow.
4 comments:
Que belleza ! Lucky neighbour.
L'homme à la moto?
Yes, lucky neighbor. this is beautiful!
here again, I always want to trace the steps of a room in all your phototgraphs. There is always something hidden, revealing, intriguing. There has to be more-Of this one I would especially like to see. What is the image you have worked from? Is that landscape over the door, Is that someone standing in a garden? What are the framed pieces of. I am amazed at this little treasure.
Here, the populated diptych, 3 bars from the close, is a superior rumination on the textures they enfold. This juxtaposition is a conscious encouragement to be cognisant of the lives that breathe through each element, and we know this urging is not limited to the living figure. But the exploration of texture to detect life is going to be perplexed when it arrives at the glazing at the optic parapet. And there we have its motive to merge the two halves.
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