Upon entering the church of Santa Maria Del Popolo in Rome, one could read the inscription left by a Jesuit as an epitaph on his last resting place: “In life I was not alive; in death I am not dead”.There is certainly a deeper esoteric meaning in the words which escapes those who have not dedicated thier existence to the honing of the senses. Those senses which, according to Saint Ignatius, sharpened by appropriate spiritual exercises, should allow us to sublimate objective reality, fostering contacts with suprasensory worlds, where the corporal matter which envelops us, can no longer weigh us down and is transformed into pure thought, or conscience, or spirit, or light.All this is much the same for one, as myself, who does not distinguish between energy forms. So the wave propagates: the background noise, which is the voyage of the universe, becomes a matrix for all that is visible and invisible.
Godel’s mathematical formula for the infinite is understood by the mind, although it can only grasp the finite, according to binary concepts and by opposition.
More and more minds can perceive the suprasensory: some through science; some through the suffering that life inflicts upon them to a greater degree than others; some by seeking beauty, creating the work of art that would be perfect, as an offering onto God and humanity, in lieu of a kid or a lamb.From among these artists we can single out those who, symbionically and synergistically, allow their art forms and different modes of expression to drive each other forward.In search of perfection, striving for a metalanguage that can express, in an esthetically complete form, the unattainable yearning that dwells in the soul and kindles the flame of research that the cold light of reason cannot extinguish.

This is the irreplaceable contribution of faith.
I am speaking about the encounter of Luca and Valerie and their unique work.
I am speaking about the exhibition which is the result of this encounter.
LUCA’S MYTH: a bronze sculpture of Hades, depicted in the act of abducting, of seizing.
The tecnique is excellent, the movement: dramatic, the meanings innumerable.
The fact that Persephone is not represented leaves ample room for an interpretation that only the successive stages of the exhibition can limit or circumscribe.But as I shall go on to say, this representation of death that Hades portrays, is only the beginning of the work, its dark side (nigredo), where Hades is the mediator, via the mythology of rebirth through fire and love.
VALERIE’S FAITH: In the first room the abduction of Persephone- the 12th House is represented. Death is only an apparition.
We are reminded of the marble skulls that Jesuits had sculpted on their graves. Death could not frighten one who believes not to be dead in death.
Skulls are forms. The transparency of the material used in this artwork  renders the visible and tangible reality a mere detail.
The representation of death becomes evanescent, light; it loses the weight it carries within and without the conscience of man- it is as if faith dissolved the fear, making what is heavy light, making everything a function of the acceptance of divine will.