Voices in between flowers and leaves

When a work is very large, it requires the foresight and planning of every single step to ensure the success of the end result (the undo button is not available in painting). Starting with conceptualisation, sketching and research to achieve the desired result, we move on to planning and then execution. In this image, the canvas has been joined, the background texture has been prepared, geometries and plant masses have been insinuated and tonal values have been dirtied.

The geometries of the sketched pergolas must coincide perfectly with the surfaces of the ceilings, which in this case are curved on two axes, the branches must wrap around the pergolas correctly, the branches must support the flower clusters and foliage correctly, flowers and leaves must be distributed according to a certain aesthetic. In the photo I am defining the design with the concepts just explained in mind.

There is something truly magical about creating at night: no interruptions, everything silent, no perception of the passage of time... it is like being at the centre of the inner galaxy.

The first masses of colour are those of the far planes. Inevitably they cover a large part of the drawing made in the previous step, but a very slight shadow is left to be resumed later.

No white areas remain and the entire surface is now painted but not yet finished. This painting style was deliberately chosen to harmonise with the decorative style of the environment for which it is designed.

The realisation took place in a disused shoe factory, where one can appreciate the dimensions of the work in relation to the row of shoes.

No white areas remain and the entire surface is now painted but not yet finished. It is no longer possible to walk on the canvas or place objects on it, because if it gets dirty, the corrections would be visible. A series of technical problems then arise that must be solved, there is not always a ready-made solution, so very often the muralist's job is to invent solutions to overcome obstacles that have nothing to do with the pictorial matter. Examples are this platform that runs on a rail, the seat for painting between the legs, platforms to avoid stepping on, extensions for brushes etc..

The pictorial context is finished and it is time to insert the characters. More than 150 birds of the main native species painted among the wisteria branches.

An artistic work goes beyond decoration through poetry: scattered elements placed in relation to each other acquire a meaning that reveals the narrative of the work, a message for feeling and for thinking.

Sometimes it is necessary to have the courage to destroy and make things dirty in order to achieve more, but conscientiously and skilfully. The aging that can be appreciated in this photo compared to the previous one is a risky process because it is absolutely irreversible, but in this case it is absolutely necessary for the work to be integrated into the building.

The work is finally mounted on the ceiling, giving the feeling that it has always been there.

Before being transported, the work is cut into pieces following the lines of the painted elements and in dimensions that can be managed. The pieces are then glued to the ceiling by matching each cut precisely, making the joints absolutely invisible; if necessary, they are also retouched pictorially.

The study of the ceiling surface and the precise alignment of the parts is absolutely crucial: a small initial error of just a few degrees can end in divergences and misalignments that are impossible to correct.

The work is finished and is perfectly integrated into the architectural and decorative style, giving the feeling that it has always been there. A pre-existing fake.

The whole environment is an invitation to look upwards and be surprised to discover details that reveal a tale of colours, scents and songs.