Pandaisía – from the Greek pan (all) and daisía (sacred feast) – evokes a sense of abundance and shared ritual, a generous celebration of life. This is the spirit that infuses the fifteen new canvas paintings by Georgina Spengler, which together form a visionary landscape where dreams take shape and perception becomes longing. It is a utopia of fullness, a secular altar of the imagination welcoming viewers into the heart of a world both radiant and unsettling.

In Spengler’s work, vegetal opulence unfolds in a decorative richness reminiscent, in structure and rhythm, of William Morris’s floral and interlaced motifs. Amid lush forests dense with scrolls and sumptuous foliage, the artist introduces quieter, more fragile presences: endangered plant and animal species emerging like precious apparitions. It is no coincidence that many of the works’ titles refer to these threatened forms of life, turning each painting into both a poetic and scientific archive.

“A painting that builds worlds, where ethical suggestion and erudite references coexist and intertwine, merging into a harmonious whole […]” writes Maria Arcidiacono. “It is as if the artist generously wished to nourish us with grace, only to lead us to the realization of the inescapable reality – sometimes even monstrous – that inevitably lurks within, threatening it.”

The result is a delicate balance between enchantment and alarm: the seductive elegance of decorative motifs coexists with the awareness of potential loss, while the viewer’s gaze oscillates between fascination and critical reflection. It is within this space that Spengler’s painting resonates, transforming shadows into vital tension.

Pandaisía is thus both a celebration and a warning, a visual feast and an ethical meditation: a pictorial banquet that intertwines denunciation and joie de vivre, inviting us to ardently cherish what nourishes humanity and gives meaning to our shared experience of the world.