An enigmatic central figure emerges from a dark abyss to create an image that is seductive yet perturbing. The layering of natural, artificial, and anthropomorphic elements evoke the shape of a vase whose form is ambiguous, at once familiar and alien: an inanimate and fluctuating body or, perhaps, a fertile womb, in which the distinction between micro and macro is blurred.

The title for this work is taken from the lyrics to the song Maggot Brain (1971) by the group Funkadelic.
Two enormous breasts are hemispheres which rise and fall in a starry sky. Mother Earth continues to offer herself to her children and her lovers.
Her divinity lies not in her power over others, but in her sacrifice to the ones she loves.

For y’all have knocked her up
I have tasted the maggots in the mind of the universe
I was not offended
For I knew I had to rise above it all
Or drown in my own shit

A single, slender, blade of grass lies in the centre of a white space, seemingly cutout from its usual context. It is as if God manifested himself in that exact spot, in the essential simplicity of a blade of grass, in an unspecified luminous space. The image is black and white, green is present only in the idea of the blade of grass, in our collective mental image — it is a vivid shade of green, readily recalled in the mind of anyone who has seen lawns, fields, the woods. Can a single blade of grass evoke all the green that covers our planet? Perhaps. Green is present in the title, a provocation, the letters descend like sap from the stem. Nothing on our planet will be green forever.

Nuovo cielo manifesto depicts an imaginary sky in which a triad of green insects that had been completely disregarded by ancient cosmology and modern astronomy becomes the celestial projection of a new relationship between earth and sky, human and animal. The names of the stars correspond to the HEX code of a random shade of green from the digital color wheel (as described in the equation). Kenoscromìa is a complex concept which synthesises the image of a ‘chromatic vibration in or of the void’ — in this case, the void of the cosmos.

Illusion. It is suspension of the usual rational view of the existing, the volatile turbulence of boundless forms that suddenly condense into familiar shapes. Illusion seems to recognise a glimpse of the fantastic in the protean becoming of the real. A thrill shudders through this moment of epiphany in which the ghostly presence for an instant declares its existence safe, only to dissolve once again into chaos moments later.

Closely linked to Claudio Monteverdi’s musical compositions, the idea behind Max Mondini’s poster is derived from the feeling of Baroque redundancy present in nature. Tiny details which on their own would go unnoticed resonate in chorus generating a reflection on the role of images. Is this powerful visual impact enough to fuse a poster with a work of art?