The ten works exhibited in the space represent an archetype, an enigma to be solved. They are lines and shapes that appear to be merely geometric entities, but which actually conceal profound, deep-seated rarefaction. Giorgio Milano is a painter who makes mysticism his aesthetic. His images emerge from a melting pot of references and stimuli embracing several planes of knowledge. From literature to quantum physics, from film to ancient philosophy, each interplay between these fields enhances interdisciplinary research. You cannot know reality without seeing it from multiple perspectives: the vision of a rational world with its randomness, an inorganic world with its materiality, where merely asking questions always generates something new. Reality is formed on nodes of interaction, and the deeper you dive into that rabbit hole of discovery, the more you become aware of the infinite possibility of knowledge. Painting, through an interplay of visual perception, connotes a metacognitive language in which the image is created even before it is made concrete. The act of “making”’ is only a compulsory consequence; the consequence of Benedetto Croce’s essential “aesthetica in nuce”. The “PetraFicta” exhibition is Giorgio Milano’s multiverse, made up of subjective experiences and objective knowledge. The connecting line through his works branches off into other lines of thought that take in colours, forms, time and space. To mark the opening, 480 Site Specific (the Piciocchi Pascale house) reached a deal with Galleria Acappella for a special limited-edition issue of “Rivista Acappella”, as a kind of user’s guide outlining the artist’s experimentation and research.