Revolution

The floral style, which outlines itself in the Sezession work, breaks loose in Revolution.
The juxtaposition of different historical periods and aesthetic cycles creates unexpected analogies.
The arabesque lines return after half a century.

The highly colorful Flower Power of the 1960s now has influences that are at times oriental and spiritual, at others psychedelic, lysergic-liturgical, and chemical.
It is no longer the pure and simple joie de vivre from the turn of the 19th and 20th centuries.

In any case, the macabre monochromatism of the war and the post-war years is shattered.
The man in the gray flannel suit is swept away by the two decades in which "youth is invented."
Even submarines become peaceful, yellow, and sunny: "So we sailed up to the sun/ Till we found a sea of green/ And we lived beneath the waves/ In our yellow submarine..."

As if to erase the memory of the Nazi U-Boats, defeated by the decryption of the Enigma code.
After cinema, architecture, and regime propaganda, the muse that comes into play in this work is pop music.

The Beatles' journey to India launches the trend of the Orient, which until then had been the prerogative of esoteric elites of Sanskritists: another youth, to quote the novel by anthropologist Mircea Eliade and, if you will, the homonymous film by Francis Ford Coppola.

The only black allowed around '68 is that of the Black Panthers, appearing here in the form of Malcolm X's clenched fist.

The work is a psychedelic kaleidoscope of indelible memories: Lee Oswald's shots at Kennedy, Yuri Gagarin, the landing of the Lava Lamp on the moon...

Technique: silver leaf, transparent stained-glass colors, sparkle and metallic colors, metal flakes.