The Race Westward — When the Jobless, the Indebted, and the Persecuted Became “Pioneers”

Behind the founding myth of the Westward Expansion lies a far less romantic truth: it was often a desperate migration of society’s outcasts. Unemployed men with no future, families crushed under debt, the persecuted looking for refuge — all were rebranded as “pioneers,” dressing up a harsh reality of flight rather than conquest.

Whenever production outpaces consumption, surplus follows. To offload the excess, people are encouraged to buy on credit — in other words, to go into debt. But that debt, inevitably, becomes unmanageable. Then come the bankruptcies, which, paradoxically, help the system reset: debts are recycled*, pulverized, erased, assets devalued, and a fresh cycle of borrowing and spending begins.

This is the hidden engine of our modern economy: a cycle of overproduction, credit dependency, and collapse. It’s a loop built not on balance, but on instability — propped up by the illusion of prosperity. And it’s this very loop that has always propelled the push Westward, toward lands supposedly rich, fertile, and full of promise. Toward an Eldorado — but one too often built on the backs of those who arrive too late or with too little.

Today, this “race to the West” is no longer just geographic. It’s symbolic. The West, or the so-called ‘Occidental’ world — from the Latin occidere, “where the sun sets” — still carries a double meaning: a place of wealth and power, but also the fading echo of a colonial order. The poor of the Global South, driven by poverty or war, still flock toward this West they resent — and yet still associate with survival, even hope. They flee what they reject… heading straight toward what they distrust.

But now, the direction is reversing. It’s no longer the poor who are fleeing, but the rich who are leaving. A mobile, fluid elite sets up home wherever money flows more freely: the United Arab Emirates, Kuwait, Singapore, Hong Kong… ultraliberal enclaves with light taxes, minimal state presence, and few social or environmental constraints.

This new exodus isn’t a gold rush — it’s an escape from reality. The ultra-wealthy are no longer interested in reshaping the world. They want out. They build bubbles — sanitized havens, detached from chaos — while the rest of the world scrambles for stability within a system that offers little more than illusion.


* Debt recycling is the latest fashion in our parasitic economy. Enter a new breed of vampires: the NPL investors. Operating globally, they scoop up bundles of “written-off” or hopelessly delinquent debt for a pittance — cents on the dollar. Think of them as the scrap merchants of finance: scavengers who profit from financial ruin. Through “legal” (often skirting the edge of the lawful), data-driven, or aggressive collection methods, they manage to squeeze a few drops of value from the wreckage. Their business model? “We buy trash for nothing, shake it hard, and once in a while, a few coins fall out.

The Woman Who Painted the Future—Then Hid It

Hilma af Klint portrait

In 1906, Hilma af Klint, a Swedish artist and trained painter, began creating a groundbreaking body of abstract work—years before Kandinsky, Mondrian, or Malevich touched the genre.

Guided by her deep interest in spirituality, geometry, and nature, she produced hundreds of paintings that seemed to belong not to her time, but to the future. Vivid colors, spirals, symbols, and complex structures filled her canvases, forming a visual language meant to communicate the unseen.

Yet she kept these works largely hidden. Convinced the world wasn’t ready, Hilma left instructions that they not be shown until at least 20 years after her death.

She died in 1944. Her abstract paintings—more than 1,200 of them—remained in storage until the 1960s and were only brought to wider attention decades later. It wasn’t until the 2010s, with major exhibitions, that her place as a pioneer of abstract art was finally recognized.

Hilma af Klint didn’t just anticipate the future—she painted it, quietly, with visionary clarity.

Hilma af Klint painting 1

Reality Map… or a Carefully (Un)folded Illusion We Mistake for the Real?

The diagram offers just one interpretation among many: a visual way to suggest that every element in a hierarchy contains its own mini-hierarchy, and so on—an endless, anastomosed structure of nested systems. The names may shift, but the core idea stays the same. It’s our knowledge that draws the lines and defines the extent of this vast, branching tree.

Today, we think we’ve mapped the boundaries where the infinitely large and the infinitely small end. Yet with each scientific advance, those borders are pushed ever further.

But some philosophical questions arise: is our reality fractal in nature? Not necessarily. It may be that each entity, each element within this hierarchical branching structure, is fundamentally different from the others. And more than that—borrowing and reworking an idea from Aristotle—the whole is not merely the sum of its parts; it is something else entirely… and, in a way, the reverse is also true.

Yes, the branches may indeed extend infinitely, forming a structure that resembles a bridge stretching endlessly, anchored to no shore—a true paradox. Strange, perhaps. Stranger still: although our reality may not be fractal in the strict sense, we might consider it holographic in nature. From any single, distinct element, it is possible to reconstruct a part—or even the whole—of what surrounds it.

This phenomenon has a name in Latin: pars pro toto—a part that reflects the whole. In this sense, everything is contained within each of us, even in our differences.

I’ll end with a thought: if we perceive an ordered world amid the chaos of complexity, it is likely due to our remarkable ability to intuit patterns and to organize what we call reality according to the logics we ourselves invent. That, perhaps, is the most beautiful illusion of all.

reality map

Mystic Flying Bat

Mystic Flying Bat is a mixed-media artwork I created back in 2010. It was the starting point for a series of pieces in a similar style, some of which I screen-printed using different color palettes. With this work, I wanted to invite viewers to think about an intriguing question: What is movement?

What makes this kinoptic artwork special is the way it creates the illusion of motion. As you look at it, the black bat seems to flutter, expand, or shift. But here’s the fascinating part—if you stare at it long enough and then close your eyes, a white bat will appear in your mind!

Kinoptic designs, like this one, play with our perception, making still images feel alive. It’s all about the clever use of contrasting colors and the precise arrangement of shapes.

Curious about how to create something like this yourself? I’ve put together a tutorial you can check out.

If you’d like to own a print or canvas of Mystic Flying Bat, you can find them here.

Stardust

Here’s the recipe to make an average-sized human: 15 kg of carbon, 4 kg of nitrogen, 1 kg of calcium, half a kg of phosphorus, 200 g of sodium, 150 g of potassium, 150 g of chlorine, a few grams of about 15 other elements (some exotic, like selenium, lithium, and vanadium in trace amounts), and four 10-liter buckets of water.

The 40 liters of water can be made by combining 5 kg of hydrogen and 35 kg of oxygen. Commercial cost? Just a few euros.
The hydrogen and a pinch of lithium come from the Big Bang, about 15 billion years ago. The other ingredients are more recent; they required billions of years of cosmic evolution, with stars being born, shining, dying, and reforming in nebulae from stellar collapse.
The 15 kg of carbon was formed in a star’s final stages by combining three helium atoms. The 35 kg of oxygen came from the fusion of carbon and helium in extremely hot stars. Iron is the ash of spent stars, and calcium, phosphorus, sulfur, chlorine, sodium, and nitrogen also come from these stellar forges.
Traces of even heavier elements reach us from supernovae. In short, we are born from the stars.

Op Art Metal Bookmarks

As an artist, I enjoy including subliminal messages or figures in my work. My paintings, photographs and collages play on the foreground and background relationship of our visual perception and represent common or iconic faces the viewer has to rediscover.

In this magical bookmark of my creation, a portrait of M. L. King appears when held over a blank page or up to a light. From his famous words, we are reminded that, “Darkness cannot drive out darkness; only light can do that.” A neat gift available from Art of Play.

While in this one below, a portrait of Gandhi appears when held over a blank page or up to a light — a subtle reminder to read with intention and “Be the change you wish to see in the world.” Still available from my partner Art of Play.

Amazing Brightness Constancy Effect

Look carefully at the saw-tooth wave patterns on this picture. Is the background of the picture uniformly gray or are there different shades of gray?

Kolozanges (2013-2021), © Gianni A. Sarcone

Brightness constancy makes some vertical strips look darker, when in fact the gray background is all the same shade of gray.

This op art work is available as prints and canvases from my official online Gallery.