The Idea.

The Gods still live. In literature, in history, in ancient stones. Above all they live in the Pantheon in Rome, the palace where there are all the gods (pan-theon), architecture, stupefying by its grandeur; originality (a dome incredible for the time when it was built and for all ages to come) a true miracle probably due to all Gods dwelling there. The palace is a circular form: this form of absolute regal ostentation, wrapped in itself, an unending love monologue.

In the Pantheon it is easy to bump into Apollo and Dionysus, as Nietzsche says they are, by intuition, inextricably related-- the development of art is bound to the duality of the Apollonian and the Dionysian through a continuous struggle and a reconciliation sought.

Apollonian art is that of sculpture; Dionysian art is non-figurative, abstract. The two impulses proceed alongside one another, with a reciprocal excitation which in the struggle of antitheses always bears strong fruits. Antithesis, until recently, by a miraculous metaphysical act, the pair are coupled with each other and in this coupling eventually produce works of art and so Dionysian-Apollonian work comes from Soulé-Toparovsky.

The Pantheon that today inspires this new work sounds out the possibility that this temple could be enough for 10 thousand gods. Each of them, says Giorgio Manganelli, nestled in a shrine of porphyry, or hung from a gold lamp chain or inserted in the crevices of tabernacles. It is the gods that mate and generate and gradually invade the world, crushed into the despair of not being able to be worshipped. It is a cosmic tragedy of the Pantheon. Gods known and unknown--shrine of inferred Gods.

The Exhibition.

The two artists, Soulé and Toparovsky, have worked together now for 10 years and have produced a series of exhibitions in which painting and sculpture coexist, tied in a single expression. Today this experience is alongside the photographic work of Rukhin who is charged to mediate between the Apollonian and Dionysian forces with the dimension of clairvoyance.

But here-- the goal of Rukhin is discovering gods that transform themselves from immensely small to immensely large creatures in which the metamorphosis from the invisible to the visible is the final statement. Creating, between the painting of Soulé and the sculpture of Toparovsky, a third dimension that is not documentary but purely visionary.