The personal adaptation of the Major Arcana by K is the result of a long reflection on their symbology and what they teach.

In this research, the artist relies on the study of masters like Alejandro Jodorowsy and Aleister Crowley, with the advice of Simone Loi, naturopath and tarologist. Loi contributed to the catalogue of the exhibition with some quotes from his thesis on the subject.

The 22 Triumphs, also called Major Arcana, have always fascinated artists. Some of them ventured into a personal revision of the original model, such as the Tarot of Mantegna, the decks of Salvador Dalì, Enrico Baj and the Tarot of Dario Fo, painted by his son Jacopo.

In The Castle of Crossed Destinies, Italo Calvino uses the Tarot to help his characters, affected by insanable mutism, giving them the opportunity to tell their adventures through the Tarot cards arranged on the table. Kaey seems to accept the invitation of the author, collecting the original deck and inviting us to retrace the way of the Tarot through an intriguing figurative repertoire of strong symbolic value, shaping an evolutionary path of personal, mental and spiritual growth.

Each Arcane is a stage of the journey, and an entity with a precise character. Starting from the classic iconography of the original deck, Kaey transports us into a universe of humanoids, Machines and colors that undoubtedly recall the American New Age school of Ralph Steadman and the experiments of Dave Mckean. Each figure relates to a specific phase of the growth of the human being, giving the Arcana an extremely human reading key. In the cycle, we find indeed a fetus, that becomes later a newborn and then faces paternal and maternal figures, to finally meet the society outside the family nucleus, acquiring an increasing awareness of himself as he enters the journey.

Kaey’s research is topical and modern. At the same time, the choice of the Arcana model crystallizes his work in a timeless era, in which elements of the past are mixed with futuristic suggestions and constructions. This gives rise to an imperishable language that finds its maximum expression in the choice of a universal theme.”

cit. Marcella Magaletti, curator of the exhibition “22”




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Persephone originates from the homonymous personal show by K and develops as multimedia work, between visual arts, performative and video.

The project was realized with the collaboration the theatrical/performative company “Niduo” by Francesca Zavattaro and Antonio Cicerone, with the support of the team “The Hieronymus Case” (Luca Gasperoni, Simone Rosati and Marie Angela Tuala Paku as director) and the participation of the performer Manuela Cirfera.

The video performance tells the story of the Rape of Persephone, extrapolating the value of the myth and its message of rebirth, growth and power of balances.

The first two acts show the rapture and the stay in Hades, where Kore, daughter of the goddess Demeter, faces the metamorphosis and acquires the power of awareness, rising as queen of the Underworld: Persephone.

The third act invites to the happy celebration of the daughter who rejoins the Mother Goddess, the awakening of Nature, Sabbath to fulfilment of the balance and cycle of existence.

The perspective adopted by K and his team embodies an ecological message and shows a more visceral level of interaction between the characters of the story. Here the Kore chooses her own destiny, she’s no longer a victim of the events and decisions made by other gods.








Pandemonium (Page #)

Pandemonium is part of a narrative cycle developed in as a graphic novel. The story is unpublished and will be a connection for further stories.

Each board is rendered as a splash page, as a single frame, and represents an example of experimental illustration. The project tries to set a painted canvas in each page, the journey of growth of the main character with the horrific environments of the human subconscious and its defects as background.

The technique includes watercolors, oil, ink, graphite, collage, digital art and more.