Timothy Verdon in 'Art in the life of the Church, Libreria Editrice Vaticana, 2009. p.127-130.
Comment about the work 'Man's family. Family of God'.

Sign mystical

Let me close this chapter on the signwriting with a work by the contemporary artist Filippo Rossi, in which this idiom emerges with a clear intention. Rossi's work reproduced here, the Family of God Family of man (Fig. 46, p. 128) suggests the intellectual clarity and absoluteness that signs make it possible: to see the Savior is born as a light in gilded wood a cross to "tau" - that becomes ingrained, however gilded wood with wood in the rough allusion to St. Joseph, the representative of Israel's history when the Son of God fits, and the white touched with gold, which alludes to Mary . In fact, Christ is born on Christmas and Easter, dies and is resurrected himself the ultimate sign that God offers to humanity, as understood Isaiah when he says: "All the ends of the earth shall see the salvation of our God" (Is 52, 10), a psalm reiterates the theme, insisting that now "the Lord has made known his salvation in the eyes of the nations he has revealed his righteousness" (Ps 97 [98], 2).

But it is really sacred art, a work so far from tradition? I think so, because "the Church has never had as its artistic style, but, according to the nature and circumstances of peoples, and the needs of the various rites, admitted styles from every period" .41 The ancient Christian tradition and then offers examples of abstract art as well as lofty figurative, and not only in the early Christian period, but also in the heart of Renaissance figuration. He is wrong because those who believe that the languages of contemporary art are unsuitable to the sacred just because the abstract and the informal, such as atonal music, somehow put a learned art pour l'art instead of humble faith in Word made flesh. Wrong because Christianity is not a Manichean: autism prefers aut-et-et, sure that every genuine aesthetic experience may fall within the providential plan of God the cry of Jesus on the cross, certainly "atonal" in fact is part of Our historia salutis, as is the random order - almost "informal" - the flower of the field, more beautiful than Solomon in all his splendor.
In this context, the observation was happy of Paolo Biscottini, director of the Diocesan Museum of Milan, that sacred is not only what can be posed in a literal reference to sacred history, but what it expresses the truth of man. John Paul II in his Letter to Artists of 1999, developed a similar idea, saying that "any form of art is authentic in its way, an access to the inmost reality of man and the world" .42 The Pope playwright insisted that, even in today's gap between the art world and the world of faith, the Church continues to have great appreciation for the value of art, "even beyond its typically religious expressions," because " when it is true, [art] has a close affinity with the world of faith ".43 For the avoidance of doubt, he added that" even when they explore the darkest depths of the soul or the most unsettling aspects of evil, l 'artist became a voice in a way the universal desire for redemption' .44

The Family of God Family of Human Rossi reminds us that art does not serve the Church only as a teaching tool. It is called rather to become a sign capable of introducing in the mystery, and the use of images in the context of the liturgy is in fact to express the special relationship which, thanks to the Incarnation of Christ, exists between symbol and reality in sacramental economy - a relationship that is reflected not only in the later narrative paintings, but in all the works that the man associated with the worship of God, the sacred vessels and tissues to the most monumental architectural constructions. The use of things in the liturgy reveals and makes present the vocation of the world infrahuman, called together the man and through man to give glory to God for a mysterious process, and while simple, this revelation then becomes part of the faith lived, especially in the Eucharistic celebration and worship: to find God in this matter, the believer is to grasp the new dignity of every material thing, which became (at least basically) "monstrance", like every human being is now called to see become worshipful contemplation.