Technique: Print on paper. Evolution from the original in digital form Measure: 80 X 100 cm This first generation of the original "Moving Humors and Loves", having a background where the celestial has been almost completely removed, presents a scene with a completely different meaning. The love of the first two faces is lost, because the sweetness of the looks is to a large extent resized by the dark and strong parts that increase the areas of shade, putting aside all the sun.      This feature is accentuated in the other two faces where the scream of the third is strengthened and the declined gaze of the last character on the right, in such a context, is no longer the gaze of reflection, but that of a sort of problematization, of complication of reality. Everything seems to be a dreamlike flow, a movement of moods and loves, but that pass from one scene to another like a dream that passes into a possible nightmare.

Technique: Print on paper. Evolution from the original in digital form Measure: 67 X 80 cm This first generation has the force of quantity and variation. It is no longer a question of the rebel as an individual, but of a condition that embraces different peoples, races and various ethnic groups, in short, every man on earth. The chromatic diversity, the pressing succession, the repeated screaming image seem to indicate a crowd and each time it is like having in front of a gens inter gentes, without the visibility of the arm present in the matrix-frame, which forces to focus on that one eye and on the rebel yell. Each rebel face seems to have its own symbolic world above its head, the same for everyone despite its diversity, marked by different colors. It could be a libertarian Manifesto that gives voice to the many peoples forced to suffer and live silently.

Technique: Print on paper. Evolution from the original in digital form Measure: 67 X 80 cm  Technique: Print on paper. Evolution of the original in digital form. Measure: 67 x 80 cm      Today the dialogue has been replaced by the debate, that is, a fight-a-two, where, we know, those who scream more seem to have consensus. The picture is effective because in its generational aspect, the arm has become a sort of shock that unites and divides the two contenders, highlighting that the two are not without relationship, but precisely related to the dialectic-aggressive element. In this second generational aspect of the painting-matrix, that is the original one, we have here a singular outcome: an eye that over the two contenders observes the confrontation with detachment. It is surrounded on the right and on the left by stars as if, faced with small human quarrels, often resolved incorrectly, there are those who observe and judge and perhaps sympathize and forgive.    

Technique: Print on paper. Evolution from the original in digital form Measure: 80 X 150 cm       The virtual aspect of the painting is its specular duplication. It is interesting to note how the printed image that comes from it is linked to the original even thematically, in the title itself: indeed, indeed, "love and mystery" reign (or should reign) in the world. Obviously, the mirror image construction immediately provides a spatial balance to the image, a sort of proportional symmetry. In fact, the two faces counterbalance the central face that radiates through the two hands, which from the center of the forehead are ready to receive, stretching outwards.

Technique: Print on paper. Evolution of the original in digital form. Measure: 100 x 154 cm       Be careful: here is already a child that generates further: a virtual variant that generates another! An endless family tree, "which will populate the earth!"      What he can give here, the virtual translation of the painting is the variation, the one that best suits the world. If the face of the King dominated in the first generation, here the fragmentation of the image suggests the movement and changing of things, typical of the worldly reality.

Technique: Print on paper. Evolution from the original in digital form Measure: 94 X 96 cm       The title given by Guidotti to this his "son" refers to Andy Warhol and his pop art that would seem, here, virtually re-proposed. And here, however, the meaning of an explanatory title ends.      On the level of meaning, this half-face reduplicated, instead, with chromatic variations that can be imagined even beyond the limits of the canvas, as alluded to the right from the sketch of the face tending to red, shows an extraordinary contrast between a royalty, seen in the piece previous and well explicit, and this fragment that, conversely, underlines a mild, welcoming, sweet, sad, humble look, which has little to do with the human conception of power.

Technique: Print on paper. Evolution of the original in digital form Measure: 100 X 100 cm       Two asymmetric paintings where one includes the other. And since the one ahead for the spectator, the most obvious one, fades two sketched faces, close, it is right and justified that they inspire the title of the piece. In this case too, virtuality generates a new work, an autonomous son, who lives an independent reality and, however, implicit in the original that produced it. Who would recognize, from this generation, the painting-father who is the progenitor? The technical means are, in their own way, democratic. It does not impose a forced descent within the limits of the paternal will, but leaves free and creative, to the end.

Technique. Print on paper. Evolution from the original in digital form Measure: 95.5 X 99 cm       Even here, beyond the title assigned to his work by Guidotti, the virtual translation of the original is, indeed, a dance. The specular and fragmented play of the micro-pieces of the painting gives a rhythm, a movement, they present themselves as a continuous movement, an all-current reinterpretation of that movement so sought after by the Futurists.      The fragmentation of the painting seems, in particular, a rhythmic cadence, which is such, because it has, in the empty tiles, the faithful correspondence of the pause, as it happens, precisely, in a piece of music.

Technique: Print on paper. Evolution from the original in digital form Measure: 94 x 96 cm       The virtual here even reaches the chromatic nuance!      The looks multiply within a spherical perspective, until you get to a final eye, at the bottom of the print and at the center, which concludes this visual relationship with the viewer.      Interesting are the two hands that seem to take the face in an absorbed, thoughtful, prayerful way.

Technique: Print on paper. Evolution from the original in digital form Measure: 99 X 100 cm       It seems singular, but on closer inspection, the virtual transformation of the original, marks in a more evident way that "only face" to which the title already refers to the original. The "many faces, here segmented, do not lose their unity, rather they reinforce it, for the symmetrical game that the virtual specular duplication has generated. My temptation would be to reverse the titles of the two pieces: the original is "Many bilateral faces", while the virtual rendering would define it as "Many faces only one face"!       Here the virtual completes and realizes the intentionality present in the original.

Technique: Print on paper. Evolution from the original in digital form Measure: 99 X 123 cm       The chromatic change of the original, here is a perfectly successful aesthetic possibility.      Every 'metamorphosis' is a transformation, a continuous becoming, which has had, in the tradition of Western thought, in its focus, its most emblematic expression. A self-generation and change that the virtual, a master of the multiple generation, could only complete

Technique: Print on paper. Evolution from the original in digital form Measure: 99 x 133 cm It is a real other painting. Beautiful, intrusive, exuberant, captivating, pressing.      The spectator does not know how to defend himself from an image that surrounds him with the looks from all perspectives, even those that seem to come from theatrical masks, as you can see above the two figures, in the hair, of the two converging faces who smile.      Even the chromatic nuance is seductive because it is unlikely: going from ocra to indigo and a daring action that only a free instrument like the technical one could achieve!

Technique: Print on paper. Evolution from the original in digital form Measure: 89 X 99 cm       The use of the technical tool here simply serves to bring the original to a color variant, explicitly indicated in the title. Obviously, this possibility has as many creations as there are chromatic variations and related nuances. The aesthetically relevant effect is an image that seems, at night, to represent a chorus of children. The singular thing is that, - we imagine - a color, for example, red, would give another interpretive indication!

Technique: Print on paper. Evolution from the original in digital form Measure: 80 X 100 cm What manages to offer the virtual generation of the original "The woman between beauty and nostalgia" is an extraordinary modern reinterpretation of the Hindu Trimurti. Not only for the triplication of the face, but above all for the breast which, on the sides, embraces the Cosmic Whole, as in the Hindu conception, with what looks like a flame, present in the center and duplicated and representing the masculine element . So the Primordial Couple and the tertium that is generated. Lastly, below, the ripple of the signs recalls the primordial waters from which the All came to life.

Technique: Print on paper. Evolution from the original in digital form Measure: 70 X 100 cm       The virtual specularity that is produced here amplifies sadness for a love at its twilight, as alluded to by the title. Even in the chromatic variation, dominates a color, so to speak, autumnal, more intimist and in keeping with the painted theme.      The face and the multiplied eyes dominate in the center, emphasizing the decline of a feeling that the same eyes indicate, with their gaze lost in the void.

Technique: Print on paper. Evolution from the original in digital form Measure: 100 X 135.5 cm       The chromatic evolution does not seem to have removed drama from the event narrated by the painting. What is exasperated, in fact, is a color that alludes to the flames and, consequently, conforms faithfully to the tragedy. It almost seems, indeed, that the story is in the passage after the one painted in the original, a passage where, after the catastrophic impact, one lives only the proximity of death.

Technique. Print on paper. Evolution from the original in digital form Measure: 99 x 100 cm The monochromatism of this virtual translation of the original accentuates the dominant face, overshadowing the small internal and central allusion to the Queen of England. The possibility of interpreting this virtual translation into a large mask, a ritual mask, built like a small internal architecture, with a three-dimensional volume, is even more marked.

Technique. Print on paper. Evolution from the original in digital form Measure: 100 x 101 cm Whenever there is a segmentation of the image, there is movement and becoming. Here then, all this fits perfectly with the "circumstances" to which the painter alludes to the title assigned to his painting. The central gaze remains steady, fixed, but around it is the variation of things, there are changes of everyday reality. The effectiveness of these fragmentations is that the frame is broken, that is, the structure that cages the painting. The image goes on its own, even in the rules of the fragment.

Technique: Print on paper. Evolution from the original in digital form Measure: 100 X 149.5 cm       Really paradoxical that the same title assigned to two creations so bound by the inner generation can have an opposite meaning! But while in the original the presence of two people clearly indicated the relationship of affection and attention one could give to the other, in this piece generated by the first, the duplication of the same face indicates, on the contrary, the cure for oneself, self-referential, narcissistic. More: that look at the viewer exposes the two faces that is one to a kind of vanity, almost to say "look at me!". Here, then, the care would also invest the viewer, forced to pay attention to the duplicate character in the press that the original did not require!

Technique: Print on paper. Evolution from the original in digital form Measure: 99 X 99 cm       Here too, as for Metamorphosis, the virtual generation produces another work! However well done! Specularity involves only half of the original painting, but the fact that the two faces, or rather, the only duplicated face, has a different color, becomes a creative specularity, like two twins looking out from the canvas to observe the observer. Their hand placed near the mouth, indicates amazement, modesty, but also a bit of effrontery that makes this piece of virtual generation really enjoyable.