Oltre l’Oceano is part of the PASSAGE series, a body of work exploring movement, transformation, identity, and the emotional meaning of crossing from one stage of life into another. Within this series, journeys are not represented simply as geographical movement, but as passages capable of reshaping identity, memory, and perspective. This work represents one of the most personal pieces within the series. It reflects the experience of leaving behind familiar landscapes, family, memories, and certainties in order to begin a new chapter of life. The title, Beyond the Ocean, does not refer only to the physical crossing between continents; it speaks about the emotional dimension of transition itself and about the invisible space that exists between departure and arrival. At the center of the composition, a red aircraft dominates the visual space. The aircraft recalls the visual language of the Italian Aeropittura movement of the 1920s, where flight became a symbol of movement, speed, and changing perspectives. Here, however, flight becomes something more personal. It represents movement not only through space but through life itself. The Colosseum appears as a symbol of origin and memory, representing Italy not simply as a place but as the foundation of identity and the world that shaped me before departure. Across the composition, the Italian and American flags coexist, not as opposing symbols but as connected dimensions of a single journey. The transition between countries becomes not a separation, but an expansion of identity. The two figures at the lower part of the composition are not anonymous presences. They represent my wife and me, standing together at the center of this passage. I am depicted wearing my Italian Air Force uniform, a deliberate element connecting my personal and professional history with the journey represented in the painting. Their presence transforms the work from a story about migration or movement into something more intimate: a reminder that some journeys are not driven only by ambition or opportunity, but by human connection itself. Love becomes the force that gives direction to movement. The building within the composition refers to Scranton, the city where I currently live in the United States. The sign reading “Electric City” carries a historical meaning connected to Scranton itself, known for its role as one of the first cities in the United States associated with electric-powered transportation and industrial innovation. I intentionally included this reference because it connects my present reality with the broader narrative of transition and discovery. It becomes a symbol of arrival and of a new chapter of life. I deliberately chose the pouring technique for this work because it introduces a level of unpredictability and surrender that traditional creamy acrylic application does not require. Unlike thicker paint, liquid color cannot be controlled with complete precision. It flows, merges, expands, and creates interactions that evolve beyond the artist’s exact intention. In many ways, this process reflects life itself: we can choose a direction, but we cannot fully control the journey. The softened and partially undefined forms within the composition are intentional. They are not meant to represent visual inaccuracy, but memory itself. Certain experiences remain vivid and precise, while others gradually dissolve with time, becoming emotionally transformed. Like distant recollections, some elements emerge clearly while others remain suspended between presence and absence. I wanted the composition to feel as though memories, places, and emotions were surfacing and fading simultaneously, much like fragments of a journey revisited through time. Through Oltre l’Oceano, I hope viewers recognize something universal: that some journeys are not defined by where they take us, but by how deeply they transform us.

Artwork Size & Ink Base:

24 x 18 x 1 in stretched canvas, created with acrylic, pouring technique and layered textured mixed media on canvas

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Marco Sabatino Picone

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