Sons of Green is the image of a child whose green hands hint at an intrinsically ecological dimension of human life. Every existence is an existence that is interposed within infinity, the universe, and matter, that consciously reproduces itself. Every time that matter ceases to be conscious in the singularity of a life, it returns to being indistinct from the rest of the universe. All return to God. If, to quote the Bible, we are born from dust and to dust we will return, this child has within itself the germ of its regeneration into something else.

The word green has been used by the artist in a playful way. Taking the famous saying “occhio non vede cuore non duole” (what the eyes don’t see, the heart doesn’t grieve over), she has substituted the word vede (see) for the word verde (green), using the complimentary colours of red and green. The annoyance provoked by this chromatic combination creates a visual short-circuit, between what is known, such as the traditional knowledge conveyed by the proverb, and what is induced by the chromatic contrast.

A series of juxtaposed images. In the background, you can see the type of graffiti that can be found in the area around a hospital in the Modena Apennines. A primitive and rudimentary legacy, this graffiti is filtered through the pixels of a screen, suggestively combining the analogue and the digital. In the foreground, out of focus, a cherub holds out a raised fist, a green fist that expresses a gesture of rebellion against the state of things, and an approach to dealing with them. With this poster the artist brings together two different eras and attitudes within the same frame, which search for harmony through the tension: a harmony of the past, with the reciprocal influences of humanity and nature, instead of today’s state of detachment and indifference.

The inspiration comes from the Garden of Earthly Delights by Hieronymous Bosch, taking an image from the triptych’s central panel. Even if the landscape of this panel looks as if it wants to represent the material world, we can’t say that this is the case. This garden is a place where a large number of human beings, linked to nature in a primitive way, are engaged in a multiplicity of activities. In the detail that the artist selected, a group of men are playing a game that reminisces on the primordial. Reinterpreting the colour green to give it ecological, artistic and rationalist intentions, Future Primitive is a manifesto that questions, through the representation of an ‘ecological society’, existence itself as well as primordial life.

The starting point of the poster is represented by a series of photos that shows different examples of cave paintings that have been defaced, overwritten, or tagged over time. Attracted by the overlapping of the figure of the creator with that of the destructor, intrinsic to the act of vandalism, he thought about his own past design, which depicts a fox, and wrote over it. In this way the artist presents the same dynamic of creation and destruction and invites visitors to take part, giving them the opportunity to vandalise his artwork.