Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 Page 101 Page 102 Page 103 Page 104 Page 105 Page 106 Page 107 Page 108possibility to test reality; but we also realize that we are faced with the essence of a portrait, the synthesis of a land- scape, of a truth, a thought, or simply an emotion that takes on shape and a chromatic connotation through artistic ex- pression. The result is compositions that allude to, but do not represent, that suggest but do not define, that compose and re-compose a volume but do not structure it in a defini- tive way, that invite and prepare us for a personal explora- tive journey. Ancient classical philosophers celebrated the value of wa- ter are compared it to man's soul, to something that has no beginning and no end and that manifests itself in many forms. Greek literary tradition speaks of the myth of Deucalion and Pyrrha, sole survivors to a universal flood sent by Zeus to punish mankind's meanness. Jewish tradi- tion, attributes the cause of the deluge to man's wicked- ness and relates the episode in the Bible: God decides to punish humanity and elects Noah and his sons as ancestors of the human race. In the Sacred Scriptures, water once again conjures up divine interventions in the history of sal- vation: the waters of the Red Sea, water issuing out of a rock, the water of the Jordan. In the literary pages of an- cient Greece, water is the significant element in Homer's Odyssey: Ulysses, in his journey toward Ithaca, is constantly in contact with water, the symbol of life and tranquillity. This aspect is represented by the suggestive river that will lead him to a magnificent place where he will find hospitali- ty and help in order to return to his homeland. Simon Raab's virtual immersion in water catapults us into a particular situation where everything seems muffled and ir- regular, but at the same time strangely lucid and vivid, al-