Mare Nostrum, this series of paintings by Pliny Palhano referring to the abundance of the sea, "the womb of the world," as Vanildo Brito, a poet from Paraíba, wrote in the Odes to Cabo Branco. Fish, visual theme of these paintings clearly inspired by the miracle, are the record of his urge to painting, his work and his ecstatic marked by quantity. Without directly observe what goes into the sea, he paints the shoals and movements in a way that, even taking photographs as a model, convey the elegance of its pictorial gestures, the same that we used to see at other moments of his art.

Painting is the symbol of the visual arts. With painting man communicates ever, and is moved contemplating his making, working and thinking.

Religiousness is appellant at the paintings by Plínio. Recently we saw at the State Museum an exhibition of large canvases devoted to myths and symbols painted differently, and stamped with stencils, but carrying the same rate of stroke awareness, but at the same time loaded with an unusual freedom that makes us think in rites without dogmas. In them were also references to prehistoric art, shamanistic events that seem to be stamped in our unconscious back to the cult, to the mystery and magic as it was and it is Christianity in its deepest mysteries, like the ancient memory of blood and body transformed into bread and wine.