‘These are the words written by the artist Elena Bracciolini as a presentation of the exhibition: “The canvas ‘The vineyard in the garden of Eden’ is the starting point of my attempts to grasp the sky; veiled white rabbits take the place of children. The passing of the centuries is evoked by a mask with no time reaching fulfilment, like a ship reaching the harbour, in the embrace of the magic vineyard of life, whose bunches are maternally protected by gigantic leaves. Other themes are: re-gaining innocence in order to reach infinite knowledge; transforming oneself into old bell-towers, hosting swallows and climbing stars (see the canvas “The man of the swallows”); or rocking, together with great wisterias, the sleep of a new born baby following the rhythm of a lullaby dictated by the pen of Dostoevskij: “Christ plays with a child, with the pensive air which is typical of children, staring into his eyes. Christ, looking at him, has become totally immersed in his meditations. He stares at the distant horizon. An idea as immense as the world, is mirrored in his gaze”. Another works include: “The birth of life”, “Monument to the foetus”, “The Cockerel, son of the sun ” and “The cosmic horse”, which breaks the astral placenta to come out in the open, symbolising the birth of each one of us. God hid from the wise and revealed to the children. (…) The following canvases refer to this cosmic love, which is above the corruption of matter and death: “Limits of the dying matter” and “Crucifixion”, where Christ comes down from the cross in order to embrace, drag and fulfil the supreme act of love. The author of “The Idiot’ observes: “The essence of the religious sense escapes any reasoning. In the religious sense there is, and always will be, something untouchable”. Ultimate realisation of the exhibition is the journey towards the infinite (the canvas “Infinite journey”) and the matter in exploding evolution, like the moving sun, which goes back to the cosmic point from where it had started. (…)”. Elena Bracciolini’