It was whilst flying at 37,500ft en route to Osaka, Japan, that I first conceived the concept of what is the largest painting in the world (27m x 9m). This was to be a commission for the Di-Maccio museum in Osaka; it is planned that it will be on permanent display there by the end of 2003.

It took three years of meticulous planning to meet this challenge, involving three increasingly large scale drawings in black and white. Apart from the idea and the composition of the painting , the main difficulty during this period of time was to realise a balanced, harmonious work of art.

The general theme is based on the notion of the infinite nature of the universe, and the relativity of time and place. I deliberately eliminate all specific references to our civilisation's mores, making this a timeless work. By doing so, this painting, which has neither right nor left, nor up nor down, leaves the viewer in a parallel universe, far from our mundane, everyday reality, in a future which has already become past. Adopting the principal that there is no straight line on the universe, I have used curved time and space in order to express the dazzling infinity surpassing this way all earthly and human notions and to be able to treat these great themes in a universal manner.

This work is also highly introspective, giving me the opportunity to analyse the timeless and collective unconsciousness. This way I can attempt to transcend cultural and intellectual barriers, and through this work I can attempt to get these messages across to peoples of all races and creeds throughout the world.

At the beginning of the third millennium this new creation imposes on the collective consciousness concepts leading towards less materialism and greater spirituality. Thus this painting, set in a parallel universe, contains a multitude of references to our cultures, and close study will reveal themes which connect all aspects of the painting.

References to different religions and sensibilities enriches the "langage pictural" of Di-Maccio, and enables the message which the painting contains to be read with equal ease by people from the four corners of the world.

These ideas, both current and perhaps future give us a possible gateway into a 21^st century which is more just, spiritual and universal. However, despite these new concepts, Di-Maccio remains true to a proven classic technique: that of the great Italian masters.

This oil painting, the largest in the world, consists of eighteen panels, each 4.5m x 3m (15'x10'), which, when fully assembled, will be framed by mirrors at right angles on the floor, the ceiling and at both sides, thereby extending the dimensions of the work into the infinite.

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