Wonders of the universe exhibition catalogue

©Studio Tablinum Edited in September 2014

GIORGIO TARDONATO

P.zza Verdi, 2 - 22030 Eupilio (CO) – It

http://www.tardonato.com

Studio Tablinum Cultural Management

www.studiotablinum.com

Alessandro Cerioli Project Manager

Francesca Corsi Art Curator

Elisa Larese Art Curator

Camilla Oliveri Executive Assistant

ARTIFACT Gallery

www.artifactnyc.net

84 Orchard Street

btw Broome & Grand

New York, NY 10002


SommarioSommarioSommarioSommario

GIORGIO TARDONATO ............................................................................................................................. 4

ART’S EXHIBITS ............................................................................................................................................. 5

WHEN THE WONDERS OF THE UNIVERSE BECOME ART .................................................................... 6

ARTISTIC PERIODS AND SUBJECTS ........................................................................................................... 9

The “scientific period” ................................................................................................................................ 10

Jewels period .............................................................................................................................................. 11

The “myth of the origins” period ............................................................................................................... 12

The “crystal cut” period .............................................................................................................................. 13

The “transparent sculpture”........................................................................................................................ 14

The period of astronomical instruments: ................................................................................................... 15

Photographic works .................................................................................................................................... 16

Man is made to look at the stars. .............................................................................................................. 17

BACK TO BASICS ....................................................................................................................................... 21

OPERAS ....................................................................................................................................................... 22

SOMBRERO GALAXY NGC 4594 (M 104) ............................................................................................ 23

M31 GREAT NEBULA IN ANDROMEDA ................................................................................................. 25

IC 5152 ....................................................................................................................................................... 27

ETA CARINAE ............................................................................................................................................. 29

M 51 OF HUNTING DOGS....................................................................................................................... 31

SMALL MAGELLANIC CLOUD ................................................................................................................... 33

SAIL’S NEBULA ........................................................................................................................................... 35

COMET WEST ............................................................................................................................................... 37

1989 ............................................................................................................................................................ 37

SOLAR WIND ON THE POLE .................................................................................................................... 39

GLOBULAR MASS M56 ............................................................................................................................ 41

THE FIRST BIG RADIO TELESCOPE ........................................................................................................... 43

SPACE TELESCOPE ..................................................................................................................................... 45

ISS (Internazional Space Station) .............................................................................................................. 47

ANTENNAE ( polypthic in 6 parts) ........................................................................................................... 49


GIORGIO TARDONATOGIORGIO TARDONATOGIORGIO TARDONATOGIORGIO TARDONATO

The painter has an impressionistic training. His kind of painting could be called

“astronomical”. In his works we find stars, galaxies, comets, star clouds but also

fanciful galaxies of antimatter, negative skies, and cosmic crystals.

For experts technically it's SPACE ART (by Chesley Bonestell (1888-1986))

Painting techniques are always in progress: oil on canvas or acrylics on canvas,

brushes, spatulas, airbrush, inclusions, but also self made canvases, cuts filled

with transparent resins and true gold inclusions, shapes: engraved or cut,

transparent or opaque.


ART’S EXHIBITS

1987: personal exhibit - Sella Gallery - Lecco

1990: personal exhibition - Villa S. Giuseppe - Erba (CO)

1993: group exhibition - Club Volta - Milan

1995: personal exhibit - Municipal Hall - Eupilio (CO)

1996: international group exhibition - Tain L’Hermitage - Tournon (France - dép.

Rhone Alpes)

1997: personal exhibit - Municipal Hall - Erba (CO)

2005: exhibit with a painter A. Zoppis - Municipal Hall - Canzo (CO)

2006: personal exhibit - Holiday Inn - Assago (MI)

2009: exhibit with a sculptor G. Melotti - Municipal Hall - Asso (CO)

2011: exhibit with a sculptor G. Melotti - Municipal Hall - Castelmarte (CO)

2013: exhibit Florence Biennale: Firenze

2014: April - personal exhibit - Studio Tablinum - Bellagio (CO)

2014: September - personal exhibit - New York City - Manhattan L.E.S. - Gallery

ARTIFACT

2014: November - Art en capital - Grand Palais- Parigi


WHEN THE WONDERS OF THE WHEN THE WONDERS OF THE WHEN THE WONDERS OF THE WHEN THE WONDERS OF THE UNIVERSE BECOMEUNIVERSE BECOMEUNIVERSE BECOMEUNIVERSE BECOME ARTARTARTART

“Among the many and various studies of literature and arts, on which human minds feed, I estimate we should cultivate more importantly, it applies with great passion, those that relate to

things more beautiful and worthy of being known.

And these are the ones that deal with the divine revolutions of the world and the course of the stars, of magnitudes, distances, and the rising and setting of the causes of the other celestial phenomena, and that, in the end, explain their sorting. And what on earth is more beautiful

than the sky, which certainly contains all the beautiful things? The state of the sky and the very names of the world: this with the name of purity and ornament, that of artistic chisel.”

Niccolò Copernicus (1473-1543)

On the Revolutions of the Heavenly Spheres

The beauty of the cosmos takes on a particular value if it is enhanced by the work

of someone who knows how to guess the union between the art form created by

Man and another form of Art, mysterious flavor, made up of galaxies, remote

solar systems and originated from the cosmos itself.

The wonder created by nature comes to intertwine in the infinite amazement that

feeds the questions of the human being from its inception, pushing it in search of

the mystery that gave rise to everything that surrounds us, it combines the creative

force, thirst to discover ever new perspectives that is proper to the human and

gives rise to a unique form of art that find in Tardonato a excellent demiurge.

The artistic movement of Space Art relies on an ancient and essential bond to

science with art. We can find one of its happiest expressions in the works of that

artist and astronomer Giorgio Tardonato.

Thanks to a genuine insight that makes to coexist the artist with the passionate

man of science, we are accompanied by Tardonato, in an amazing journey to the

discovery of the Cosmos.

The universe is generated according to mysterious laws that Men from all Eras

have tried to find out with hard study and understanding.


Probably it’s not enough to use the rational mind to fully understand why such

beauty and perfection that regulate Universe have rules too amazing to be

expressed only into mathematical equations.

The path marked by Tardonato following the suggestions of Space Art allowed

him to build a consistent and culturally flawless career. Thanks to his mastery and

spontaneity, he uses various pictorial techniques in order to be able to better

shows the full bound with cosmic visions and knowledge related to the myth of

creation. The spectator who admires his work is not alone in front of a beautiful

work of art, but can also take advantage of a detailed astronomy lesson.

His operas offer to us an astronomical vision, icastic and true, without

abstractions, that come from a real experience with a good telescope.

Started with the traditional technique of oil painting in the eighties, the beautiful

galaxy NGC 1365, worked with brush and palette knife, it is one of the most

sensational of his operas.

We can follow the evolution of his first technique to an unconventional shape,

with the use of special cotton canvases and brushes, sometimes enriched by a

skillful use of resins, gold foil, copper or aluminum.

All those special materials, allow us to create a three-dimensional effect that make

his art unique.

One of the most stunning works created by Tardonato it is Antennae: A

magnificent polyptich in six parts, with, enrich with beautiful glazes of color, able

to condense in itself all the wonder for the Beauty and the Perfection of the

Universe.

Two galaxies, 60 million light-years away from us, come to clash in an event of

exceptional durability, a billion years, during which the stars of NGC 4038 and

NGC 4039 are mixed, but never come into collision.

Their arms develop spectacular star-formation processes in which vortices of dust

and gas become the beating heart of a millenary creation, come to us already

older than 60 million years, that cannot fail to fascinate and inspire in us great

questions and dilemmas.


His pursuit of perfection become a strong interpretive key for a works such as the

First Big Radio Telescope, the Hubble Space Telescope, the core of the Antennae

and latest creation, the international space station ISS.

The origins of Mankind himself with its thirst for knowledge will are revoked by

the shapes of our Planet Earth: the starting point from which it emerges the perfect

amount of ISS, a real promise for Mankind to overcome their own horizons.

Elisa Larese - Alessandro Cerioli


ARTISTIC PERIODS AND SUBJECTSARTISTIC PERIODS AND SUBJECTSARTISTIC PERIODS AND SUBJECTSARTISTIC PERIODS AND SUBJECTS


The “scientific period”The “scientific period”The “scientific period”The “scientific period”

Those operas come from some of the most beautiful and famous heavenly bodies,

together with phenomenon taken from the Earth. There are oils on canvas, acrylic,

opaque or glossy paintings. Dimensions are relatively big. Peculiarities of these

early works are: scientific accuracy with many details.

Mars Cotton canvas, acrylic paints manufactured by brush, gold leaf

Aurora Borealis flickering (diptych) – 1988 – part 1 – cm. 100 x 120 - cotton canvas, acrylic worked

brush, spatula and airbrush

ANTENNAE (Poliptych into 6 parts) 2014 - Part: cm. 30x120 (total 120x180 cm). Linen canvas, acrylic paint worked with a brush, resin crystal.


Jewels periodJewels periodJewels periodJewels period The “jewels’ period”: we can see true shapes of rubies, diamonds, emeralds and other precious stones

with their brilliant facets; inside the jewel we find galaxies or other infinitely big heavenly bodies. It’s

the Macrocosm contained in the Microcosm of a crystal. These canvas are small, about 50 cm, but some

of these are modular, becoming bigger.

DIAMOND SPACE NGC 1365 - cm. 84x60 - cotton canvas, acrylic paint with a brush and

spatula worked (1996)

GALACTIC COSMIC BIRTH AND SEA - 4 unit parts - cm. 50x50 cad. (Tot 100x100), flax cotton,

acrylic with a brush worked, gold leaf (1994)

PRIMITIVE SPACE CRYSTAL cm. 50x50 linen, acrylic worked with brush, gold leaf (1994)


TTTThe “myth of the origins” periodhe “myth of the origins” periodhe “myth of the origins” periodhe “myth of the origins” period

Those works display the hypothesis about the origins of the universe are realized with different solutions: traditional canvas, triptychs, and paintings on wood that can be opened like a window, gothic windows with History of universe. The all period is intended to stylize natural astronomic images.

Window big bang - cm 100x100 Double surface on the side pictures. They can be framed and hinged like a window - double-sided canvas of flax - acrylics, resin (1999)

ORIGINS OF PEARL SHELL WITH GALACTIC - 50x80 cm - double cotton canvas, Acrylic paint with a brush worked; crystal resin, gold dust and silver (2008)


The “crystal cut” periodThe “crystal cut” periodThe “crystal cut” periodThe “crystal cut” period

Includes diptychs, triptychs, separate canvases. The draw is given by a cut in the canvas, the colour is in the resin that fills, includes, covers with an absolutely glossy effect. Could not load widget with the id 90.

Poliptych: Progressive Wave (2009) - the Universe evolution


The “transparent sculpture”The “transparent sculpture”The “transparent sculpture”The “transparent sculpture”

It’s a sculpture made of the same transparent resin that covers some canvases, but here it’s the

material who gives body to the idea, to express the Space’s wonder.

GINKO BILOBA FOSSILE (TRASPARENTE) - cm 73x34x4, peso 2,4 kg - resina Crystal Gedeo colorata e modellata, filo di rame. 2005

SCULPTURE OF GALAXY (CLEAR) - cm. 86x62x18-Gedeo Crystal resin colored and patterned (2005)


The period of astronomical instruments: The means by which we seek answers in the cosmos far or near they are represented in artistic

form. There are deep-space radio telescopes, who are investigating at distances such that the

galaxies are seen only in radio waves; by computers can reconstruct images in color coded.

These tools are made with wire mesh, so were used shapes of metal stuck to the canvas with

transparent resin. There are optical telescopes, both on land and in space, small and great, but

all returned spectacular images. The recorded light can be what our eyes see, but also invisible

to us, reconstructed by computers and sensors. There is the great International Space Station,

Always inhabited, Always-on experiments and observations. So the man goes beyond their

physical limits and it seems right t make a tribute to the art technical tools, old and new, that

we offer so much beauty.

ISS (International Space Station) (Poliptych in 4 parts) 2014 - part 1: cm. 30 x 120 + part 2: cm. 30 x

120 + Part 3: cm. 30 x 120 + part 4: cm. 30 x 120. (Total 120 x 120 cm). Linen canvas, acrylic paint

worked with a brush, aluminum, copper, resin crystal.

VLA RADIO TELESCOPE - cm. 50x100 - cotton canvas, acrylic paint with a brush worked, paper and

aluminum wire, stainless steel and copper, crystal resin (2011)


Photographic worksPhotographic worksPhotographic worksPhotographic works

Photographic works: to bring a people that seek into art original works, but small and convenient, the author has carefully photographed partial areas of their work. He developed the computer images, with non-repeatable, printed with their own professional-quality inks and papers. The prints are unique or repeated in 5 copies, to maintain the value and rarity of artistic creation, even in digital form.

Photographic details from M56


ManManManMan is made to look at the stars.is made to look at the stars.is made to look at the stars.is made to look at the stars.

Eclecticism does not seem to be a distinctive tendency nowadays, so far from that

era when an artist was also a scientist, with a breadth of knowledge in both

fields. However, Giorgio Tardonato’s marvelous works give us the impression to

be before someone who deeply knows science and astronomy in particular. His

paintings abound with starts, comets, cosmic clouds as well as fantastic antimatter

galaxies, cosmic crystals and negative skies…a truly “impressionist” vision of

Space.

Giorgio, first of all I would like to talk about your activity as an amateur astronomer. Over the last few years, you have contributed to divulgate astronomy from both a cultural and practical point of view, offering your collaboration to a series of public initiatives. How do you combine this passion with art? Do you see art as a way to divulgate astronomy?

Man is the only animal who can look at the sky. Others can do it through an

unnatural effort, whereas for mankind is almost spontaneous. Astronomic

observation has guided the history of human society, and now that we can really

know the depths of the universe, few people seem to be interested in the sky. We

rediscovered the ancient amazement as soon as we are far away from artificial

lights. I noticed it during all the initiatives of sky observations organized for the

public, even when there were not any instruments, and all we had was the name

and picture of the stars. Beauty and amazement mark astronomy divulgation,

even in its more simple terms. Art nourishes itself with the same things: beauty

and amazement. I simply combined two passions, cultivated since my early age.

I still keep abreast of science, experimenting painting techniques blended with

scientific hypothesis in order to represent old and newly discovered objects,

picturing how they could be.


Your painting has been defined as “astronomical” or belonging to Space Art, a style that the American artist Chesley Bonestell (1888-1986) first developed with a series of realistic scenarios for future spatial explorations, often carried out by NASA, with an extremely figurative slant. Meanwhile in Europe, the same style was tending towards a stylization of abstract shapes, following the example of Futurism. Did you have a specific source of inspiration for your works in this sense? Bonestell for sure, firstly known when I was a child and my mother was helping me collect Liebig sticker. This was the series I liked the most. The encounter with dear Ms Adriana also played a fundamental role: she was the painter who has taught me how to paint for 12 years. Both Italian and French, she had studied at the Academy of Fine Arts in Paris and had an impressionist mark. At the end of my course, she suggested that I should have specialized, carefully choosing what and how to paint afterwards. The first astronomical painting was made together, painting the hydrogen clouds

of Orion Nebula in a similar way to those of an impressionist landscape.

In your works you experiment a great variety of materials and techniques: from oil paintings or acrylic on canvas to diptych and triptych, as well as statues in transparent resin and photography: every time you manage to represent, with scientific rigor, wonder and astonishment for the Universe. How much time does it take to find the right way to represent such a distant world, to which we however belong? At the root of each painting there is the knowledge of the subject. Each painting is

unique, I never repeat myself. Technical difficulties are due to the fact that

celestial bodies are bright, without embracing the contrast of lights and shades

which is the base of normal paintings. I must represent a source of brightness and

shape its depth: I work out this problem in a different way every time. I study

books and magazines and I surf on the Internet; for every subject I never use only

one image, but I combine different images with the sensation of being on a

spacecraft, close enough to feel their own depth. Finding the motivation to realize

what I have in my mind can be very hard, and it requires the same amount of

time than experimenting different techniques and materials, in order to reach


positive outcomes. At times, I am surprised myself by the final aspect of the work.

It is true that reality overcomes fantasy.

Tell us about your experience at new Florence Biennale 2013 where you participated with our studio.

In Florence, I was pleasantly struck by the high quality of the exhibited works.

Contemporary art is often an exhibition in negative. In Milan, Rome, Venice,

Rovereto (MART), Paris, Stockholm, Amsterdam, Berlin, London I saw denouncing

works, even strange and original, complex and difficult, which never represented

the idea of beauty and positivity that Art should convey. On the contrary,

Florence Biennale 2013 astonished every artist who I could talk to: we enjoyed

each other’s company and we felt absorbed in that kind of futuristic atmosphere

with the same harmony that pervades Florence and makes it unique in the world.

I often wondered why in Italy we keep organizing retrospective exhibitions,

looking at the past as well renowned works, rather than investing in the future

and in everything that can enrich our patrimony. This Biennale has provided a

good answer. The professional assistance of Studio Tablinum was a discerning

factor between do-it-yourself and professionalism. Despite the little space

dedicated to my paintings, Alessandro’s work generated such visibility that

important Galleries were interested in my paintings. I am also thankful to my

graphic designer (studio Sintesi) for the effective leaflets.

You also have a double experience with photography: on the one hand you work for advertisements and documentaries, including videos for both state and private companies; on the other hand you are responsible for artistic production. Has your love for photography influenced the way you see things and thus your analytical way of reproducing Space? Professional photography requires the same skills of a painter, technique and

carefulness. I was able to observe images through the telescope and elaborate my

own canvas, transforming them into digital artworks. Experience and technical

equipment (purchased thanks to a couple of advertisements for a few clients) gave


me the chance to develop, balance the equipment costs as well as acquire IT

skills, which are also necessary for astronomy. These two things are

complementary and I devote myself to both: sometimes art, at other times

photography. Every change implies new solutions.

Together with several groups of amateur astronomers, you contributed to the foundation of the national association Cielo Buio, promoting the protection of nocturnal sky – part of Human Heritage – as well as other landscapes and cultural assets around the world. You therefore combine the artistic activity with the conservation of existing assets, enhancing your “eclectic” nature. In modern artistic contexts, is the lack of conservation or that of creativity that causes more risks? I organized several conferences, even for state bodies, regarding ecological

solutions to night lighting, both to save energy and see stars again. This is a long

cultural evolution. As long as nocturnal sky is not important for a vast majority of

people, laws will not be able to protect it. The light that we need to walk at night

should not darken the stars nor blind our eyes. The starry sky has been declared

Human Heritage, but I would rather say that Earth itself should be considered

heritage of the starry sky.

Those men who do not look at the sky are forgetting that they have no power,

neither to create nor to destroy. They can only choose if they want to indulge

nature or if they prefer to find easy and direct solutions, following their own

wishes and harming themselves.

Modern Art, in the past as well as in the future, has the aim of representing a

problem, an idea, a myth or a hope. The artist shows the right way on behalf of

everyone else, sometimes before than everyone else.

If people accept art proposals, art gets successful. However, people often

understand art message afterwards and only those representations confirming the

existing world are successful.

It is not the artist the one who is risking, but spectators to artists’ works are those

that can choose to accept or refuse novelties.

Article written by Francesca Corsi

Published online www.studiotbalinum.com


BACK TO BASICSBACK TO BASICSBACK TO BASICSBACK TO BASICS

The exhibit at Artifact Gallery in New York represents a particular “homecoming"

for the artist Giorgio Tardonato. It will surprise you to know that he never exhibited

in the United States: what it means "back to basics"? We can talk about a “come

back” because his operas are result of a logical consequence, of a decades-long

work of scientific research and observations of the cosmos.

These works could only reach the United States: the Nation that gave rise to the

space program, with missions such as the Apollo, which they did make strides

humanity and not only in terms of scientific discoveries If today our life is facilitated

by major technological innovations is good to know that this technology would not

exist without space research.

We could said that: "Wonders of The Universe" represent a major milestone in the

artist's evolution of theory and technique.

Based on the results of extraction indelible symbolic, such as the Big Bang theory,

the work of Giorgio Tardonato tends to overcome the limits of practicality realistic

for trespassing, with boldness and wisdom, in free associations of key elements and

together scientific, thus assuming results attributable to the disruptive forces that

shaped the Cosmos. Giorgio Tardonato’s art tends to overcome the limits of

concrete scientific representation and exceeds, with boldness and wisdom, in free

associations of symbolic and scientific key. In this way, his works convey all the

greatness of the explosive forces that shaped the Cosmos.

Alessandro Cerioli


OPERASOPERASOPERASOPERAS


SOMBRERO GALAXY NGC 4594 (M 104) 1986

cm. 100x802,5,

tela di cotone, colore a olio, lavorata a pennello e spatola.


The Sombrero Galaxy is a “spiral

galaxy”, surrounded by a circle of

dust; it has a bigger and brighter

bulge like curving arms. It is similar

to a “sombrero”, the Mexican hat, and for that it is

commonly called so.

The Sombrero Galaxy leans out of the canvas

because the sombrero's brim is the widest even if

not the brightest part of that galaxy. The bulge is

the most important part for an astronomer because,

with its light makes possible to study a celestial

body. It is 30 km far away from million of us and

it's collocated in Virgin's constellation.


M31 GREAT NEBULA IN ANDROMEDA 1986

cm. 100x100x2,5,

Cotton canvas, oil worked with a brush


This spiral galaxy is the twin sister of our galaxy.

Considering its form, the dimension, the age and other

characteristics.

We can use Andromeda like a mirror of our Galaxy

and we can study hypothesis about it. Andromeda

Galaxy It is of 2.5 million light-years far away from us

and is located in the Andromeda Constellation.


IC 5152 1987 cm. 90x70x2,5,

cm. 90x70x2, 5, cotton canvas, acrylic worked with brush and airbrush.


This spiral galaxy is similar to our galaxy but this

spiral is more circular. These two galaxies are

part of the “Local Group”. Its color reveals the

presence of gas which creates new stars.

It is 5, 5 million of light years far away from us

and it’s visible in the Indian’s constellation in the

southern hemisphere. Its activity and the distance

help the studies of the astronomers.


ETA CARINAE

1988 cm. 90x90x2, 5, cotton canvas, oil worked with a brush.


The stars grew up into a big nebula. They have a lifecycle which create new words thanks to the elements which come from the explosion of stars at the end of their lives. The Eta star of Carena, the big southern constellation

(the Argo ship), is creating a source of new life

around her in preparation of its own Supernova

explosion (after the imminent catastrophe).

It’s a hypergiant variable blue star, (probably is double) 8000 light- years far

away from us.

It’s big and very close to us. An important object of study for astronomers.


M 51 OF HUNTING DOGS 1988 cm. 100x80x2,5, tela di cotone, colore a olio lavorato a pennello e spatola.


Here are represented two near galaxies, together are

called “Vortex Galaxy”. The biggest and the smaller

have created a bridge of hydrogen, dusts and stars

which united them.

Thanks to the telescopic visions we can observe the two

bulges which are brighter in the spiral part because

contains lots of young azure stars. It’s visible under

Alkaid, the last star in the tail of Ursa Major.

The distance is about 31 millions of light-years. It’s in the Hunting Dogs’

constellation.


SMALL MAGELLANIC CLOUD 1988

cm. 100x100x2,5,

tela di cotone, colore a olio, lavorata a pennello.


The Small Magellan Cloud

presents an irregular shape due

to the attraction of our galaxy,

it has a semi-transversal

position.

This galaxy is close to the second satellite, the Great

Magellan’s nebula. Together they will be attract into

our galaxy without catastrophic events because the

distance between the stars is so large that the

possibility of collision is quite absent. It’s situated at

197.000 light-years far away from us. It is visible

also with a naked eye in Toucans constellation, in

the Southern Hemisphere.


SAIL’S NEBULA

1988

cm. 100x120x2,5, cotton canvas, oil worked with a brush


This Nebula is similar to a bubble of gas big and soft but also complex due to its colored gas layers which have a prevalence towards red.

A supernova star is exploded at the end of its life and sows the space around her with dusts and hot gas which will give birth to young stars. Its name, given by its discoverer, is GUM 16. It’s in the Sail’s constellation, the

ancient part of Argo’s constellation which now is made up in: hull, stern, sails and compass.

The dynamic impression of the rush is exalted with the figure which comes out

from the canvas, to give the feeling of infinity.


COMET WEST

1989

cm. 70x50x2, 5 linen, worked in acrylic brush and airbrush


That comet was variable and could be seen by

naked eye in 1976 when it is passed to a distance

of 30 km from us.

Its tale colored in light and warm azures - seem to

be those of lots of comets.

This canvas represents one of the world's oldest celestial bodies; some scientific

hypothesis claim that comets brought on Earth some nutrients useful for humans

lives.


SOLAR WIND ON THE POLE

1990

100x80x2,5 – gr. 1900

Cotton canvas, acrylic brush and airbrush work


An “aurora” is a wind of particles ionized by the solar wind which make shining the rarefied gas of the high atmosphere around the polar circles. These gas create a circle around the Poles. During the winter solstice this phenomenon is visible to the naked eye by anyone around the Polar Circle. The winter solstice is on 21st June for the South Pole. This opera include an iceberg, typical of the southern polar cap.


GLOBULAR MASS M56

1994

cm. 100x100x2, 5

Cotton canvas, acrylic worked with brush and airbrush


The globular masses are the oldest group of stars: for that

there is a little bit of free hydrogen, to permit the birth of

young stars. But the last telescopic observations record a

more intense activity compared to the past. This is one of

the most beautiful globular mass and this image is the

result of a personal observation with a big telescope. The

dropper technique has been used for the first time in this

canvas, with the brush and the airbrush, to create the effects of the light. Is situated

in Lira’s constellation, with a distance of 3300 light-years.


THE FIRST BIG RADIO TELESCOPE

2010 cm. 100x80x2, 5 Cotton canvas, acrylic worked with a brush, paper and Aluminum mesh and copper, resin crystal


The first big (64m of diameter) radio and adjustable telescope is Australian because the southern hemisphere is directs to the central region of the Via Lactea which has an intense activity. This tool, in 1969, transmits the images of the Moon landing due to his capacity to receive weak signals. In the background is represented the radio map of a pulsar star.

Parkes RADIO TELESCOPE nowadays


SPACE TELESCOPESPACE TELESCOPESPACE TELESCOPESPACE TELESCOPE 2013

cm. 120x30x4,

Linen canvas, acrylic worked with brush, aluminum, copper, steel, resin crystal.


A view of HST from the Space Shuttle

This opera is a tribute to the Hubble Space (HST): it is the only

optical and orbiting telescope. Launched in 1990 with the shuttle

Challenger today is already working even though modifications

and substitutions of optical and electronic parts as it has never been

done before. The scientific and photographic results are

exceptional: the Space was never seen with this high quality before.

Technically is a Reflector telescope Ritchey-Chrétien, the diameter of

the mirror is 2, 4 mt and the focal length is 57, 6 mt.


ISS (Internazional Space Station)

Polyptich in 4 parts)

2014

Part n.1: cm. 30 x 120 + part n.2: cm. 30 x 120 + part n.3: cm. 30 x 120

+ parte n.4: cm. 30 x 120. tot. cm 120 x 120).

Depth cm 4. Middleweight gr. 2425 x 4 (tot. gr. 9700)

Linen canvas, acrylic worked brush, aluminum, copper, steel, resin crystal.


.

The International Space Station is a unique laboratory for lots of sciences. It

completes an orbit around the Earth in 1,5 hour, is as big as a football or a

rugby field and is inhabited by 3 astronauts. The astronomy is the most important

science to be studied here but is done also medicinal, chemical, electrical,

biological and physical experiments. Lots of possibilities are given by the external

Environment to the Earth in microgravity. Here will be planned the future human

interplanetary missions and in the canvas is pictured the last mission of the Shuttle

Atlantis in berthing phase (2011).


ANTENNAE (polyptich in 6 parts) 2014– Part n.1 – 2 – 3 – 4 – 5 – 6: cm. 30 x 120 (tot. cm 120 x 180). Depth cm 4. Middleweight gr. 2425 x 6 (tot. gr. 14500) Linen canvas, acrylic worked brush, resin crystal.


This work belongs to the

scientific period and

represents a collision

between two galaxies

placed at 60 million

light-years away in the

constellation of the Raven (southern hemisphere). The

name comes from the gravitational deformation which the

two original spirals’ arm have, like the antennae of an

insect. During the long event (1 billion years), the stars of

the two galaxies NGC 4038 and NGC 4039 do not

collide; instead their clouds of gas and dust frequently

trigger the processes of stars formation, especially in the

central area, which is represented in this work. This canvas

is modified compared to the imagines that came to us

which are already older than 60 million years. It is a free

artistic interpretation.


©Studio Tablinum

Edited in September 2014

Documents

Wonders of the universe exhibition catalogue