Years ago, I purchased - on impulse and without wondering what attracted me exactly - a painting by a Chinese artist. Later, I followed my instinct again to dismantle it, while keeping its dark grey background on the top part and golden one on the bottom part. The upper part was made of rectangles of processed plastic material. The act of removing those rectangles left traces of the light glue with which they were attached to the support. I decided to accept those traces as random forms of which not even the author was aware. I traced and cropped each formon photographs of beings significant to me in the past and present. I applied the clippings exactly on the traces of glue, leaving some of the traces empty to wait formy future – still unknowable -bonds. I connected those shapes by thin threads of golden leaf, to symbolize the infinite and eternal relationships that Buddhism speaks of: the Indra’s network; this network represents the connection of all things in the entire universe. The metaphor of Indra’s networkremarks that each person is part of those connections, more or less visible, and that the actions of each person influence its entire and complex structure. From the bottom part, I detached 200 little squares of dark wood containing ideograms that the Chinese artist had placed there at a regular distance. I used thoselittle squares to create a regular rhythmic pattern on a wall of my house. Instead of the squares, at the bottom of the stand I glued 200 tiny rectangles of paper, each of which is the extreme reduction of a significant page of my diary. I was amused by the idea that the writing I had used to shape my spiritual journey was now unreadable, unrecognizable, that it had gained a new perspective and a new look. At a close look, a good observer can still guess that it is writing, but its meaning remains in darkness. Thin wires of silver leaf also connect the little squares. The experience linked to this work, both during its processing and as a finished object, was intensely spiritual. It represents my individual life path and the relationships with which it is connected. To witness the reduction of all my suffering, analysis andoutbursts to tiny rectangles no larger than cm. 1 x 1.5 was both liberating and funny... I applied those "little scriptures" to the support with a great laughter. The causes and conditions that led to the production of this work are the notebooks in which my spiritual path, my soul takes shape. In addition, the sense of eternity of life that I acquired through Buddhism played a fundamental role: my life is the product of causes I placed in the past and at the same time the bud of the effects that will happen in the future. In sucha perspective,I felt the needto make the interconnections or relationships that my life has woven, is waving and will weave alive in the present moment. In 2013, I had already reached such an awareness of my personal experience to be able to channel it into a work where I fully recognized my spiritual path from a denied and emotionally deprived child to an independent and strong woman. The emancipation that I had projected into objects since youth was now occurring in my personal life. What is transient in this work is the painting of the Chinese artist who, after due manipulation (or rather after I eliminated the superfluous by subtracting all the objects that were part of it), becomesa field where meaningful images act both in my life and in the observer’s life. Those images (photographs and diary reductions) represent the original part of the work, its absolute value. The fact that I felt the need to establish the existential state of my soul in a work of artis in itself a manifestation of self-healing, a spiritual achievement of great scope and awareness. That this painting avoids aesthetic meaning, like most of my works, also represents a great liberation from what Duchamp called “retinal pleasure”: anything concerning taste and beauty.