ns that read the world through form,proportion, and invisible rhythms,where the circle, the star, and symmetry were languages used to express the order of the cosmos.The floral ornaments evoke the nourishing earth,a stylized yet never static nature,that vegetal breath found in sacred architectures,illuminated manuscripts, and the painted walls of ancient cities.I intentionally allowed areas of wear to remain visible,fragments seemingly torn from time,so that the work would appear neither new nor fixed,but inhabited — as if it had always been there,a silent witness to forgotten knowledge.This 100-square-meter wall speaks of a universal sacred,of the bond between humanity, nature, and the space it moves through.Within the contemporary city, it offers a slowing down,a breath,an invitation to look differently.What we see is not merely a painting.It is a trace,an attempt to make resonate, at the heart of the present,the timeless beauty of ancient civilizationsand their way of considering the world as a whole.19:T509,

The geometry unfolding here is not decorative.

It draws inspiration from ancient knowledge, from civilizations that read the world through form,

proportion, and invisible rhythms,

where the circle, the star, and symmetry were languages used to express the order of the cosmos.

The floral ornaments evoke the nourishing earth,

a stylized yet never static nature,

that vegetal breath found in sacred architectures,

illuminated manuscripts, and the painted walls of ancient cities.

I intentionally allowed areas of wear to remain visible,

fragments seemingly torn from time,

so that the work would appear neither new nor fixed,

but inhabited — as if it had always been there,

a silent witness to forgotten knowledge.

This 100-square-meter wall speaks of a universal sacred,

of the bond between humanity, nature, and the space it moves through.

Within the contemporary city, it offers a slowing down,

a breath,

an in

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