oil on canvas8" x 10" #7- The Vase. The main reason our fathers painted eyes was for their apotropaic powers. Our ancestors painted them on their wine cups, called kylix, to avert evil while they were drinking and their guard was down. The ancients also painted eyes on amphorae and kraters and believed they endowed the vases with sight; in the case of the kylix, the eyes were those of Dionysos, who watched over his intoxicated disciples, maeneads and satyrs as they reveled in orgiastic delight. Bacco gives soul to the wine. Mos Maiorum: In communion with the ancestors!
Thursday, July 17, 2008
Roman Numeral V- La Mano- (the hand)
Roman Numeral III = La Gatta (the cat)
Roman Numeral II = La Bambina (the baby)
Roman Numeral I: Gift of Dream Deity Morfeo Series (90 Appolonian visions)

oil on canvas8" x 10" Roman Numeral I of the ancient Napolitan Cabalah series= Italia. An Apollonian dream given as a gift of the dream deity Morfeo. Bees were believed by the ancient Romans to be the gods messangers who brought good tidings to mortals. Here they hover around our mother. Italia is the mother and the Mediterranean Sea is the milk that nourishes us.
Sabba's Artist Statement




My work is an expression of an epiphany I experienced when I lived in the Mediterranean and connected to my ancestors, their myths and energetic life forces. I had my soul cleansed by the Mediterranean Sea, my heart was set ablaze with the eternal fire of Vesta and my mind was sent on a long psychological journey with the purpose of attaining the collective wisdom of my ancestors and all of their years, thoughts and experiences.
I can’t stress enough the primacy of my first Italian and Mediterranean sojourn in the formation of my artistic voice. I spent two years on the U.S. 6th Fleet Flagship and cruised the entire Med from one end to the other. I felt like Virgil’s Aeneas or Homer’s Ulysses. I had an artistic awakening in those early years of the 1990s. I only left the Mediterranean Sea two times in those two years, first to visit Lisbon and then the Black Sea. Those sea voyages set my art on a unique course.
I strongly adhere to the mariner-pilot-artist concept that was so strongly opinionated by one of my hero-artists Giorgio DeChirico and his brother Alberto Savinio in their literature. This is the Mariner-pilot image that underscores the perpetual odyssey of human consciousness. I am not an artist, I am a Navigator-Seeker-Esthete. My works are my maps and charts. As a navigator, I am mapping and charting my mind, that is to say, my inner world; both the universe beyond the clouds as well as the very same universe that occupies our minds. As an Esthete, I have created my own visionary world, my own dream universe which I am charting. Indeed, I must admit, I live in a perpetual dream of art and creation.
I can’t stress enough the primacy of my first Italian and Mediterranean sojourn in the formation of my artistic voice. I spent two years on the U.S. 6th Fleet Flagship and cruised the entire Med from one end to the other. I felt like Virgil’s Aeneas or Homer’s Ulysses. I had an artistic awakening in those early years of the 1990s. I only left the Mediterranean Sea two times in those two years, first to visit Lisbon and then the Black Sea. Those sea voyages set my art on a unique course.
I strongly adhere to the mariner-pilot-artist concept that was so strongly opinionated by one of my hero-artists Giorgio DeChirico and his brother Alberto Savinio in their literature. This is the Mariner-pilot image that underscores the perpetual odyssey of human consciousness. I am not an artist, I am a Navigator-Seeker-Esthete. My works are my maps and charts. As a navigator, I am mapping and charting my mind, that is to say, my inner world; both the universe beyond the clouds as well as the very same universe that occupies our minds. As an Esthete, I have created my own visionary world, my own dream universe which I am charting. Indeed, I must admit, I live in a perpetual dream of art and creation.
Artist Statement continued- Part II



As a seeker, I am joining in the concept of the Artist-Priest. My creation process is akin to shamanistic ritual which I believe possesses both healing and apotropaic qualities. One example of this is the eye. I paint eyes because since pre-history in Italy, they have always been used to ward off evil. The Greeks and Romans painted eyes on their amphorae, their Kylix wine cups and on other vases to avert evil. In the case of the Kylix wine cups, the eyes protected the drinker from evil while his or her guard was down with inebriety. Also, those eyes on the wine cups allowed the god of wine Dionysus, or Bacchus for the Romans, to watch his drunken disciples while they were propelled by wine to revel in bacchanal delight.
Artist statement continued: part III




In my latest body of work I am painting 90 images based on the Italianized version of the Cabbalah which is called “La Smorfia.” The body is entitled “The Gift of the Dream Deity Morfeo.” Morfeo is the Greek divinty of the dream world. La Smorfia received its name from Morfeo- compare S-m-o-r-f-i-a to M-o-r-f-e-o. The ancient Romans believed that while they slept, their ancestors’ spirits entered their homes and mingled with the house gods, which were called lare. These spirits passed from the other-world and entered into the master bedroom by walking out of the frescoed paintings on the walls, such as those exemplified in the excavated Pompeii and Herculaneum. The later Southern Italians merged this thinking with their Christian beliefs and believed that if they prayed for a soul to shorten its days in purgatory that soul would visit them in their dreams and pass on celestial wisdom in a show of gratitude. I do not believe that waking reality is more real then the reality of our dreams. Dreams have substance and reality. A well known Romantic belief is that we travel deep into ourselves and are at one with nature while we dream. I enjoy very much my time spent in the sleeping dream world of Morfeo.
Wednesday, July 16, 2008
San Michele
Pastel on paperPrince of the planetary militiaShare with us a pittance of Your celestial courage in this,The new dark ages of humanity.
Money, murder and mayhem of theCorporate/nobility share croppers Intrusive government practices of The new world order = inquisition.
Mismanagement, mediocrity and mundane concerns. Beware of an artificial lifeDo not be duped by the Ameri-con!
Powers of the universe!We are all a part ofThe Cosmos! And I am feeling pretty damn cosmic right about now.
Mezzanotte di Fuoco

She slept soundly; I observed the randomness of how our clothes fell- Her sexy underwear and bra, Our socks shoes, how the vino spilled. Like a Lebanese or Greek woman can read the bottom of a coffee cup after the contents have been voided, I realized that our belongings told a story as well, not of future or past blazes, but of current midnights of fire. In the parlance of Boccaccio-"The greatest poets chose how the sacred fire of Venus may be made to burn in the coldest of breasts."
Clytia
Monday, July 14, 2008
Il Mercato (The Market)
Oil On Canvas

'As in certain sweet and savoury dishes that contain everything, where the savoury merges into the sweet and the sweet into the savoury, dishes that seem to realize a hungry man's dream, soothe the most abundant and overflowing markets, the richest and most festive and the most baroque, are those of the poor countries where the spectre of hunger is always hovering…in Baghdad, Valencia or Palermo, a market is more than a market…it's a vision, a dream, a mirage.'-Leonardo Sciascia
Il Zingaro (El Gitano/The Gypsy)
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