The deliberate choice
of the word Macrocosmos associates this project to the Universe
and the holos with which reality can be viewed, a bridge
Micro and Macro, one and the other so similar, so
distantly close, touching each other in its infinite differences of
This project was not born of a Darwinian observation of much
that surrounds us, humble, imperceptible.
It was born instead, of a reading that has indoctrinated itself in
the existential reflections posed by these landscapes, in
which man and time joined into its making.
Therefore, it is the infinite humbleness of these spaces that
becomes an iconography whose aesthetical values are the complement
of its intrinsic nature, and of the testimonials in which they
Are they landscapes? To me they are. It they had no
other signification, they would at least carry the aesthetical
legitimacy which, as an accessory, I found in them.
What is shown is a selection of much which I chose not to show, for
I believe that abundance must be confronted with some ascetism in
what it signifies of austerity. Because that is, to me, the essence
of existence, in what it has of more profound.
It is also time, illusory because it is earthly, that attracts me in
these landscapes. Because it can be read, instead of being