In the painting ‘Landscape for Mercury’, the visible natural world becomes a transitional space between the material and the spiritual worlds. It embodies the idea that visible reality is permeated by an invisible dimension, and that humankind, nature and spiritual forces are interconnected.
In the centre of the foreground, the figure of a spiritual being emerges, appearing only as a vague, semi-transparent silhouette. It does not seem to be completely separate from the landscape, but rather to merge with it. This evokes the central tenet of spiritualism: that human existence does not end with the purely physical, and that a connection between the material world and the spirit world is possible.
The outstretched arms are reminiscent of both wings and horns. The wings can be understood as a symbol of spiritual elevation, freedom and the ability to transcend the boundaries of the material world. The horn-like form, on the other hand, alludes to a primal, archaic power. Two golden spheres emerge from this figure. They appear as condensed spiritual energies or manifestations of an invisible force. The gold symbolises not so much material wealth as knowledge, light and a higher spiritual existence.
The work explores the human longing for a connection to an invisible spiritual reality and the question of whether, beyond the material world, another plane of existence can be experienced.