> format: XL > size: 99.5 x 67.5cm (100 x 70cm)

> medium: ink, acrylic painting, copper metalwork

> support: handmade paper 640gsm

> signature: signed on bottom right with black ink

> type: original painting, 2014-2020 > cat: 523385

> price: make an offer





> guidelines related to Eco’s book

> about Finis  Africae: “The finis Africae is a hidden room in the abbey’s labyrinthine library. It is called the “finis Africae”—the “end of Africa,” in Latin—because it is adjacent to the “Leones” rooms containing books by African authors. When William of Baskerville and Adso of Melk Visit the labyrinth, they are perplexed to find that the room is seemingly inaccessible, walled up and Concealed behind a mirror that reflects ghostly images. Venantius of Salvemec tried to break into the room, but his cryptic note (“The hand over the idol works on the first and the seventh of the four”) serves to further Obscure the truth rather than clarify the mystery. The result, then, is yet more Misdirection, like the distortions in the mirror; William and Adso only later Realize that Venantius was instructing them to press the fourth and seventh letter of the word “quator” (the Latin for “four”) in the phrase written above the “idol,” or the mirror. As William observes, “this place of forbidden knowledge [i.e. the library] is guarded by many and most cunning devices.” Although the ostensible purpose of a library is to Preserve knowledge and make it accessible to future generations, this library is designed to keep out intruders and frustrate those who would try to penetrate its mysteries. The finis Africae—the most secret room in the labyrinth—is symbolic of the strict control in place at the abbey over the dissemination of knowledge. When William and Adso do eventually reach the finis Africae by a secret staircase, they find that it Contains a forbidden book that Jorge of Burgos had tried to conceal by burying it in this hidden room and murdering those who tried to enter. In this sense, the finis Africae is the most extreme example of the way in which, as William puts it, “knowledge is used to conceal rather than enlighten.” The purpose of the room and all the “cunning devices” that guard it is to Keep knowledge secret and hidden, rather than to bring the truth to Light.”

> about the fragments of the library: “Although William of Baskerville describes the abbey’s library as the “greatest in Christendom,” its thousands of books are all destroyed in a raging fire at the end of Adso of Melk’s narration. Decades later, an older Adso returns the site in northern Italy where the abbey had once stood. He patiently Gathers up a few tattered remains of the library: “scraps of parchment,” “intact bindings,” a few rotten pages where he can sometimes see a “title,” or “an image’s shadow” or “the ghost of one or more words.” These fragments of books symbolize the larger whole of the lost library and its vast body of knowledge. As Adso puts it, this “lesser library” is a “symbol of the greater, vanished one.” Over the succeeding years, he Collects copies of books that he had seen at the abbey and tries to use these incomplete pages to imaginatively Reconstruct the library. This endeavor is related to Umberto Eco’s own literary project in The Name of the Rose. Like Adso, Eco imagines a book that had once existed (the second book of Aristotle’s Poetics) but is now lost. Nevertheless, he uses the available evidence to create a plausible reconstruction of what Aristotle might have written on comedy. The notion of a fragment that can stand in for a lost whole is thus central to the novel. Adso uses the metaphor of a Dismembered body in writing about the library’s fragmented and burnt Remains, which he describes as “membra” and “amputated stumps of books.” By imagining these Scattered parts as a symbol of the vanished body, Adso hopes that through these “fragments, quotations, and Unfinished sentences…a message might reach [him]”. He devotes an entire day to a seemingly fruitless task—collecting pages of books that can no longer be read—because he believes that those fragments have a greater symbolic Meaning.”


> Unique Artwork, painting

> dimensions 99.5 x 67.5cm (100 x 70cm), signed on bottom right, original

“Finis Africae” is available for purchase as an Unique Artwork. The original painting is made with ink, acrylic and copper metalwork on special designed handmade cotton paper 640gsm. The artwork presents several layers of glossy varnish in order to protect the metalwork with copper foil. The artwork is signed by the artist on front bottom right with black ink. The work is also signed, stamped and have a unique identification numbered on the back side. Additionally, we can provide a dedicated Certificate of Authenticity, signed by the Artist, indicating that you have purchased an original unique artwork.