chapters

In chapter V Giacco's reflections intertwine and continue to intertwine, whatever the starting point everything seems, at this stage, to manifest itself in an intertwining of ropes. The ropes that in an initial phase represent the climb, depict a path that keeps us in the balance or maneuvers us, will then become laces that envelop the mind, whether they are external factors or represent the mind itself this the artist does not know yet, but he will then move on to place them in the resurrection as elements that lose their tension peculiarity, falling laces, and just like a mooring that is unhooked, so the artist frees himself from preconceptions, accepts the fallible nature of the individual and understands that there is no absolute truth that it is in itself right. In her journey the need to have to combine human nature, fallible and imperfect, with light, leads her to understand now that the fundamental step lies in the acceptance of one's own nature, the acceptance that leads to peace, to harmony. The individual now appears completely composed of ropes, ropes that represent conditioning, dreams, paths, ropes that for better or for worse represent the nature of every being, which are part of the same and at the same time belong to the universe, the Whole is composed from the same matter. A material, that of the rope, which the artist observes by perceiving its gesture, the movement that is made to define it, a spiral movement that, like the structure of DNA, has inherent the code of life. Hence the chapter of mathematical beauty begins. The artist questions himself, studies and researches, finding a strong inspiration from the past. In the seventeenth century the scientific revolution changed the approach to the study of nature, using the number as an instrument of investigation. In the Saggiatore (1623) the Tuscan scientist Gallileo Gallilei argues that the great book of nature is written with the characters of geometry.

"Philosophy [of nature] is written in this great book that is continually open before our eyes (I say the universe), but it cannot be understood unless one first learns to understand the language, and to know the characters in which it is written. He is written in mathematical language, and the characters are triangles, circles, and other geometric figures, without which mezi [sic] it is impossible to humanly understand a word of them; without these it is a vain wandering around a dark labyrinth "

The Assayer (1623), in Works, vol. VI, p. 232.

The structure identified by the artist, the spiral, is actually one of the most widespread geometric shapes in nature, the spiral as an omnipresent structure; from the DNA molecule, to flowers, to shells, to galaxies, it is an element that becomes the law of the earth and the cosmos, of the microscopic world and the macroscopic world, the connecting element with the universe. And still the artist's studies proceed finding more demonstrations. The rope is in fact an element considered a sacred symbol that can be traced even in the most ancient oriental myths that spoke of a rope that descended from heaven to emphasize the descent of the Gods on earth, the rope as an element of conjunction between men and Gods, between earth and Universe, an element of communion recognized in the two worlds. A key element. Among the most significant investigations there is then the logarithmic spiral linked to the Fibonacci series, whose peculiarity lies in the fact that the ratio between successive terms can be approximated to the number 0.618 defined as the ratio of the golden section. The golden section, which is linked to the concept of beauty, of harmony, formerly known as divine proportion. In fact, since ancient times this proportion has been considered a symbol of the harmony of the universe, so much so that Kepler came to believe that the order of the universe was based on the divine proportion: "I am convinced that this geometric proportion served as an idea for the Creator, when He introduced the continuous generation of similar forms from similar forms. "In this chapter of works the artist therefore links beauty and harmony to the acceptance of one's own nature, an imperfect but at the same time divine nature.