World Premier Event Announcement
Inneraeology TM
"PARALLEL WORLDS"
My inner journey and discovery through self-exploration, self-introspection, and maniac-personal development – My "inner pilot" – (“aerology”) " in psychology refers to the subconscious repository of my own charter of dreams; of hallucinations, and of ancient lifetimes of memories that constitute my root philosophy of life. "
Inner Pilots
Inner Reverbs
Inner Coherences
Inner Visualizations
Inner Morphic Fields
House of Silvestri presents PARALLEL WORLDS — Welcome to The New Inneraeology!
In PARALLEL WORLDS, Tomasso Silvestri constructs less an image than a cosmology.
The mural presents itself initially as an immense field of celestial movement: orbital lines wander, intersect and recoil; dark circular bodies interrupt expanses of violet and mineral blue; delicate metallic trajectories appear to describe systems whose organizing principles remain tantalizingly beyond comprehension. Yet the work resists the familiar conventions of astronomical representation. This is not an illustration of the cosmos. It is a proposition that the structures through which we imagine the universe may also be structures through which we imagine ourselves.
At the center of the composition sits a remarkable sculptural intervention—a small, almost talismanic body suspended within a lavender disc, its incandescent interior appearing alternately biological, geological and stellar. It functions as the gravitational and psychological nucleus of the work. Around it, Silvestri orchestrates an extraordinary proliferation of circles, filaments, interruptions and orbital configurations. The eye repeatedly attempts to discover an underlying order, only to encounter another trajectory, another system, another possible world.
This tension between order and unknowability is fundamental to the mural.
Silvestri's language of sacred geometry is therefore never merely decorative. Geometry becomes epistemological: a means of asking how human consciousness imposes systems upon experiences that may ultimately exceed rational classification. Circles suggest planets and cells simultaneously; looping metallic lines evoke orbital mechanics as readily as neurological pathways; dense black forms become voids, eclipses, apertures or psychic obstructions.
The macrocosmic and microcosmic are deliberately collapsed.
One might be looking outward into interstellar space or inward through the architecture of consciousness.
It is precisely within this ambiguity that Silvestri's concept of Inneraeology becomes significant. If archaeology traditionally excavates physical strata in order to reconstruct vanished civilizations, Silvestri proposes an archaeology directed inward: an excavation of memory, intuition, dream, inherited symbolism and the less accessible territories of consciousness. PARALLEL WORLDS consequently behaves like an archaeological map for something that cannot literally be excavated.
The surface itself reinforces this idea. Violet, lavender and mystic blue accumulate as atmospheric strata rather than conventional background. Against them, metallic lines possess an almost diagrammatic precision before dissolving again into tangled, instinctive gestures. Sculptural elements physically emerge from the pictorial plane, destabilizing the distinction between painting, mural, relief and object.
That material instability matters.
Silvestri refuses the safety of a single medium just as he refuses a single interpretive system. Pigment fusion, prismatic resin, three-dimensional modeling, metallic drawing, inclusions and fabricated elements coexist within one field. The resulting object occupies an intentionally uncertain territory between painting, sculpture, diagram, relic and speculative technology.
There is also something distinctly archaeological about the viewer's experience. We do not simply observe PARALLEL WORLDS; we decipher it. Marks become evidence. Circles become coordinates. Material interruptions become artifacts. Each visual element seems to belong to a larger system whose complete grammar has been withheld from us.
This is one of the work's most compelling intellectual achievements.
Silvestri allows the viewer to experience the seductive human desire to make meaning while simultaneously demonstrating the limits of that desire. We search for constellations because we need constellations. We connect isolated points. We construct narratives between fragments. We transform chaos into mythology.
And yet another order may always exist beneath the one we have invented.
The title PARALLEL WORLDS consequently acquires a psychological dimension beyond its cosmological implications. These worlds may be astronomical, but they may equally be states of consciousness: remembered and forgotten selves, rational and irrational realities, visible experience and invisible psychic life existing concurrently without ever becoming entirely reconciled.
The work's beauty comes from Silvestri's refusal to resolve those contradictions.
Its darkness is interrupted by extraordinary delicacy. Its apparent chaos contains moments of mathematical elegance. Its technological vocabulary coexists with something ancient and ritualistic. And its cosmic scale ultimately returns us to something profoundly intimate: the unknowable architecture of the individual mind.
Within Silvestri's developing Inneraeology practice, PARALLEL WORLDS can therefore be understood as an excavation conducted without earth—a search through the accumulated strata of consciousness for evidence of worlds that may have always existed inside us.
The mural does not ask the viewer simply to contemplate another universe.
It proposes the considerably more unsettling possibility that we contain one.
“What is important for me is to attack the viewer head on, there is nowhere to hide. Embrace the cosmic energy, my power of psychic emotions evoked by provoking your deepest and darkest fears, doubts, and sparking your imagination.”
Tomasso Silvestri
Tomasso Silvestri
"PARALLEL WORLDS"
PARALLEL WORLDS"
ANTHROPOMORPHICS MODELING AND 3D MINI SCULPTURES, SACRED GEOMETRY, PIGMENT FUSION, EVOLUTIONARY LAYERS, PRISMATIC RESINS, ASTROLOGY CONJUNCTIONS, AIR SPRAYED MATERIALS, HIGH TECH BLADES MADE BY SILVESTRI CUSTOM FOR THE MURAL, BRILLANT VIOLET, MISTY LAVENDER, MYSTIC BLUE GLAZES, METALLIC PENS, 3D MODELING, DECONSTRUCTION, SPECIAL MIXES OF GLAZES/PIGMENTS/INCLUSIONS, | A Inneraeology mural | | 30 W X 40 H X 3 D INCHES ON BLACK BOARD |
SANTA FE STUDIO | 2026 | PRICE UPON REQUEST |
HOS Copyright @ 2024 and Sole Property of the Artist.
Trademark and Service Mark Application USPTO
Trademark and Service Mark Application USPTO
Copyright @ 2024 and Sole Property of the Artist.
RaZ/Art - Trademark and Service Mark Application USPTO
RaZ/Art - Trademark and Service Mark Application USPTO
