Initiated in 1997 as a submission for a show called Divine, “The name of the rose” (see triptych below) was adopted as a reference to Umberto Eco's novel and film with the same title. The association to Ecco’s work is conceptual in essence for the novel symbolism is centred on the search for knowledge and truth. We are normally caught in a struggle to make sense of reality amid the confusion we experiment lost in the labyrinth represented by the rose, which truth is frequently transient, delicate and elusive.

Most cultures have associated spiritual and mythical meanings to roses.  Christian and Muslim mystics believed that God could be found within the petals of a rose. I associated this idea to the quest for integrity of the mind. That is, thinking and feeling go in hand, and the result is the rose itself in the centre. Similarly, in the novel, the philosophical conflict between William of Baskerville (the Franciscan Friar), and the religious zeal of Jorge of Burgos (the librarian) and Bernard Gui (the Dominican Inquisitor) showed a need to harmonize reason and faith to solve the string of murders at the convent. The rose in the central panel is the quest for clarity and wholeness, within my capacity to make sense of the external and internal worlds as perceived by my mind.

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In 2000, a series of drawings and paintings was started addressing the same subject as an expression of my work within the rose itself. In the late 2000s this series was interrupted due to professional and family reasons. Finally, I was able to conclude it in 2021. Please, see below for learning about The Rose Project series.