Claudio Arezzo di Trifiletti is a chosen medium for manifestation. Nature is a mirror of art, to the point that it would be possible to understand and explain the universe through simple artistic conjectures, keeping in mind that both truth and artifice rest on art. Man, an instrument of tangibility, is a medium of art itself; the artist gives himself to nature, and it becomes manifest, finding mutual benefit: pleasure for creation and illusory manifestation. Claudio's paintings have been a cognitive compass for this existing perception: family, science, and spirituality. Family is the silent inhabitant of Claudio's paintings: family is the primary place where the deepest meaning of existence is understood, where the bond between mutual lives extends beyond the very concept of family, transforming into something obsessively profound, intertwined, glued, painted, confused, connected, furious yet devoted and confident. The world is family, I am family, they are family. The cosmos and the entire universe are family, understood as an ontological and visceral link between spirituality and matter. Claudio expresses Family in his paintings, and Family uses Claudio as a tool to manifest itself. Science orders. Science shapes to order; it is a tangible and attractive tool for revealing Art. Nature and the Science that governs and regulates it can be known through various tools; when I observe with a fluorescence microscope, I see notions naturally expressed and evident in Claudio's drawings, which themselves are a further tool of scientific knowledge: expressive photography of a subject who observes the universe and captures it, for a long time, not as a mere image, but as its essence, through pictorial art, the oldest and most primordial of the expressive arts that humanity has ever experienced. The distinctive feature of Claudio's painting is the spirituality that emerges from his ability to navigate error and awareness, conflicts and bonds, for growth and rational spiritual evolution, exalting the interiority of men, things, and the elements themselves. He acquires specific expertise by learning to practice wisdom and then transmit it to others, to other things, from natural to artificial, to the point of giving art a precious gift: becoming. Describing and explaining Claudio's paintings is nothing other than describing him, a researcher, a wise discoverer who, like them, works to transform what he encounters into a single organism capable of generating growth and freedom, but above all, truth. His paintings are acts of love. (Marialaura Ontario)