The overall drawing stems from a series of “pictures” (drawings, artworks and sketches), similar to the “districts” that had composed my first great artwork, Helma Opera Labirinto (Helma Labyrinth Artwork). When I read the work of Anna Politkvoskaya, it was the spark that gave way to a process of grouping together of notes and images pulled from my experiences and other readings, from my curiosity for ecosophy to the figure of Ulysses, from the linguistic complexity of Gadda to the visionariness of Antonio Moresco, from (astro)physics as explained by Carlo Rovelli and Margherita Hack to the observations made by Zygmunt Bauman on today’s society… up to the theatrical avantgarde of Lindsay Kemp and Romeo Castellucci.
I started the drawing from the bottom, thinking to develop, like in the Via Crucis, a sort of “Egyptian” narrative ribbon that later literally exploded in a whirlwind of stories and multidirectional itineraries.