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 108universal symbol of essence, free from particular emotion- al involvement, in the constant will to investigate that which cannot be seen. In some of Simon Raab's works, water be- comes the catalyzing element of the past, present and fu- ture fused and con-fused through light and illusory oscillat- ing movements and intense and sudden sparking of light. Primordial atmospheres and brilliant chromes create an effect tied to the concepts of existential time and intimist and interior time. In the Sixties, water became the ideal means to cross di- mensional stargates and to investigate objects and ele- ments from alternative perspectives. Yves Klein proposed “his” intense blue as universal metaphor, as pregnant es- sence and structural void tied to the infinity of the sky and to the depths of the sea. Pino Pascali utilizes water as primary element, rebuilding his own sea in small zinc basins, each of which contains the color of the sea. A trial at perceiving art, love and life through the pure and uncontaminated eyes of a child. Raab looks for contact with the absolute and with forms that, in some cases, have regressed to the primordi- ality of their genesis, testing the aspects of life and of true feelings. On one hand, collisions, births and re-births; and on the other, rendezvous, discoveries, pleasures and sen- suality of volumes and of non-forms that allow themselves to be touched, listened to and caressed through a tale that involves all the senses. In the Seventies, the use of IT technology, of Electronic Art, Video-performance, of worlds belonging to virtual reality and to interactive artistic disciplines, offered the chance to further investigate water through the constant participation of the consumers who, most of the time, turn into veritable