Sergio Boldrin
First Mask

Men and their masks, an inseparable whole, take on a leading role in the new pictorial cycle of the Venetian artist Sergio Boldrin.

The artist's proposal is an emotionally-charged pictorial reflection which, like a "slap," leads to the primordial being, thoroughly exploring its most intrinsic nature.

Such exploration, however, aims to stress men's figure rather than the mask, leaving to the latter the major task of revealing men's most obscure traits while uncovering their true identity.

Boldrin, while drawing on his enormous knowledge as a master "mascarer," a constant cause for reflection for him, managed as a painter to escape from the heap of masks that accompany his every day, succeeding in unearthing the mask's meaning for the deepest self which any human has faced since the dawn of time.

In this selection of pictorial works, in fact, the mask is not intended in the theatrical terms of the "Commedia dell'Arte" or those of Carnival, but in an intimate and spiritual way, and is seen mainly in its innate appearance as a primordial face: men, the very moment they open their eyes to the world, receive a mask they will wear to their grave.

Referring to this concept, Boldrin drew inspiration from African masks to create his works. Other artists had already taken them as a point of reference in the past, in particular various exponents of Cubism, Fauvism and Expressionism in the avant-garde period of the twentieth century.

Boldrin's vision is nonetheless entirely new and, in a strikingly original conceptual and artistic approach, invites us to look back at the early fusion of men and mask that – erected as symbols – infuse the traits of each mortal. In particular, to underline the duality of a psychological component, Boldrin refers to the anonymous work "Mask of Zaire" kept at the Royal Museum of Central Africa, from which Picasso already drew inspiration – although with a primarily geometric interest – to realise "Les Demoiselles D’Avignon."

In his works, Boldrin depicts each new-born being entrusted with a mask as a small, white figure in embryonic and evanescent form, the symbol of a pure and authentic soul at the beginning of a new life. This figure holds up the great mask ready to wear it, with ever-changing gestures, with graceful and fluttering characters, never completely defined.

Boldrin, indeed, represents diverse "natives," each poised to be unique as regards their physiognomic, psychological, personality, and behavioural features.

There are masks overtly possessed by a demonic stance, conveyed through the warm pigments of the scarlet and blood red, and whose fiery eyes express the yearnings of a tormented and tormenting soul. Others, with darker hues, full of melancholy and mystery, recall signs of suffering, struggle and war. There are some in which the idea of a more serene soul devoted to reflection and analysis prevails, while others have a dreamier inclination and connect with a dancing and philosophical world. And again, masks with earthly colours – which appear more goliardic – recall pastoral and bucolic scenes.

These works present a strong figurative component which is aptly combined with the most abstract part, reminiscent of dreams and imagination. At times, the space becomes nearly theatrical, while other times the background turns largely abstract and adorned with psychological connotations. If masks on certain works show a marked, largely geometric structure, others merge with the being behind them to the point of adopting more human traits, as if they were a second skin.

Finally, the last work, on an almost black purple background, recovers the first mask of the exhibition which now – repainted in white – offers a ghostly appearance.

This work represents the end of life, the last moment men will wear their mask and in which both will cancel out.

A reflection that is narrated in works characterised by gestural instinct and intelligent tone calibration, between contrasts designed to emphasise sensations and moods, in colours as intense as life itself.

Francesca Catalano - Art critic and curator

Sergio Boldrin
First Mask

Men and their masks, an inseparable whole, take on a leading role in the new pictorial cycle of the Venetian artist Sergio Boldrin.

The artist's proposal is an emotionally-charged pictorial reflection which, like a "slap," leads to the primordial being, thoroughly exploring its most intrinsic nature.

Such exploration, however, aims to stress men's figure rather than the mask, leaving to the latter the major task of revealing men's most obscure traits while uncovering their true identity.

Boldrin, while drawing on his enormous knowledge as a master "mascarer," a constant cause for reflection for him, managed as a painter to escape from the heap of masks that accompany his every day, succeeding in unearthing the mask's meaning for the deepest self which any human has faced since the dawn of time.

In this selection of pictorial works, in fact, the mask is not intended in the theatrical terms of the "Commedia dell'Arte" or those of Carnival, but in an intimate and spiritual way, and is seen mainly in its innate appearance as a primordial face: men, the very moment they open their eyes to the world, receive a mask they will wear to their grave.

Referring to this concept, Boldrin drew inspiration from African masks to create his works. Other artists had already taken them as a point of reference in the past, in particular various exponents of Cubism, Fauvism and Expressionism in the avant-garde period of the twentieth century.

Boldrin's vision is nonetheless entirely new and, in a strikingly original conceptual and artistic approach, invites us to look back at the early fusion of men and mask that – erected as symbols – infuse the traits of each mortal. In particular, to underline the duality of a psychological component, Boldrin refers to the anonymous work "Mask of Zaire" kept at the Royal Museum of Central Africa, from which Picasso already drew inspiration – although with a primarily geometric interest – to realise "Les Demoiselles D’Avignon."

In his works, Boldrin depicts each new-born being entrusted with a mask as a small, white figure in embryonic and evanescent form, the symbol of a pure and authentic soul at the beginning of a new life. This figure holds up the great mask ready to wear it, with ever-changing gestures, with graceful and fluttering characters, never completely defined.

Boldrin, indeed, represents diverse "natives," each poised to be unique as regards their physiognomic, psychological, personality, and behavioural features.

There are masks overtly possessed by a demonic stance, conveyed through the warm pigments of the scarlet and blood red, and whose fiery eyes express the yearnings of a tormented and tormenting soul. Others, with darker hues, full of melancholy and mystery, recall signs of suffering, struggle and war. There are some in which the idea of a more serene soul devoted to reflection and analysis prevails, while others have a dreamier inclination and connect with a dancing and philosophical world. And again, masks with earthly colours – which appear more goliardic – recall pastoral and bucolic scenes.

These works present a strong figurative component which is aptly combined with the most abstract part, reminiscent of dreams and imagination. At times, the space becomes nearly theatrical, while other times the background turns largely abstract and adorned with psychological connotations. If masks on certain works show a marked, largely geometric structure, others merge with the being behind them to the point of adopting more human traits, as if they were a second skin.

Finally, the last work, on an almost black purple background, recovers the first mask of the exhibition which now – repainted in white – offers a ghostly appearance.

This work represents the end of life, the last moment men will wear their mask and in which both will cancel out.

A reflection that is narrated in works characterised by gestural instinct and intelligent tone calibration, between contrasts designed to emphasise sensations and moods, in colours as intense as life itself.

Francesca Catalano - Art critic and curator

Sergio Boldrin
First Mask

Men and their masks, an inseparable whole, take on a leading role in the new pictorial cycle of the Venetian artist Sergio Boldrin.

The artist's proposal is an emotionally-charged pictorial reflection which, like a "slap," leads to the primordial being, thoroughly exploring its most intrinsic nature.

Such exploration, however, aims to stress men's figure rather than the mask, leaving to the latter the major task of revealing men's most obscure traits while uncovering their true identity.

Boldrin, while drawing on his enormous knowledge as a master "mascarer," a constant cause for reflection for him, managed as a painter to escape from the heap of masks that accompany his every day, succeeding in unearthing the mask's meaning for the deepest self which any human has faced since the dawn of time.

In this selection of pictorial works, in fact, the mask is not intended in the theatrical terms of the "Commedia dell'Arte" or those of Carnival, but in an intimate and spiritual way, and is seen mainly in its innate appearance as a primordial face: men, the very moment they open their eyes to the world, receive a mask they will wear to their grave.

Referring to this concept, Boldrin drew inspiration from African masks to create his works. Other artists had already taken them as a point of reference in the past, in particular various exponents of Cubism, Fauvism and Expressionism in the avant-garde period of the twentieth century.

Boldrin's vision is nonetheless entirely new and, in a strikingly original conceptual and artistic approach, invites us to look back at the early fusion of men and mask that – erected as symbols – infuse the traits of each mortal. In particular, to underline the duality of a psychological component, Boldrin refers to the anonymous work "Mask of Zaire" kept at the Royal Museum of Central Africa, from which Picasso already drew inspiration – although with a primarily geometric interest – to realise "Les Demoiselles D’Avignon."

In his works, Boldrin depicts each new-born being entrusted with a mask as a small, white figure in embryonic and evanescent form, the symbol of a pure and authentic soul at the beginning of a new life. This figure holds up the great mask ready to wear it, with ever-changing gestures, with graceful and fluttering characters, never completely defined.

Boldrin, indeed, represents diverse "natives," each poised to be unique as regards their physiognomic, psychological, personality, and behavioural features.

There are masks overtly possessed by a demonic stance, conveyed through the warm pigments of the scarlet and blood red, and whose fiery eyes express the yearnings of a tormented and tormenting soul. Others, with darker hues, full of melancholy and mystery, recall signs of suffering, struggle and war. There are some in which the idea of a more serene soul devoted to reflection and analysis prevails, while others have a dreamier inclination and connect with a dancing and philosophical world. And again, masks with earthly colours – which appear more goliardic – recall pastoral and bucolic scenes.

These works present a strong figurative component which is aptly combined with the most abstract part, reminiscent of dreams and imagination. At times, the space becomes nearly theatrical, while other times the background turns largely abstract and adorned with psychological connotations. If masks on certain works show a marked, largely geometric structure, others merge with the being behind them to the point of adopting more human traits, as if they were a second skin.

Finally, the last work, on an almost black purple background, recovers the first mask of the exhibition which now – repainted in white – offers a ghostly appearance.

This work represents the end of life, the last moment men will wear their mask and in which both will cancel out.

A reflection that is narrated in works characterised by gestural instinct and intelligent tone calibration, between contrasts designed to emphasise sensations and moods, in colours as intense as life itself.

Francesca Catalano - Art critic and curator

Sergio Boldrin
First Mask

Men and their masks, an inseparable whole, take on a leading role in the new pictorial cycle of the Venetian artist Sergio Boldrin.

The artist's proposal is an emotionally-charged pictorial reflection which, like a "slap," leads to the primordial being, thoroughly exploring its most intrinsic nature.

Such exploration, however, aims to stress men's figure rather than the mask, leaving to the latter the major task of revealing men's most obscure traits while uncovering their true identity.

Boldrin, while drawing on his enormous knowledge as a master "mascarer," a constant cause for reflection for him, managed as a painter to escape from the heap of masks that accompany his every day, succeeding in unearthing the mask's meaning for the deepest self which any human has faced since the dawn of time.

In this selection of pictorial works, in fact, the mask is not intended in the theatrical terms of the "Commedia dell'Arte" or those of Carnival, but in an intimate and spiritual way, and is seen mainly in its innate appearance as a primordial face: men, the very moment they open their eyes to the world, receive a mask they will wear to their grave.

Referring to this concept, Boldrin drew inspiration from African masks to create his works. Other artists had already taken them as a point of reference in the past, in particular various exponents of Cubism, Fauvism and Expressionism in the avant-garde period of the twentieth century.

Boldrin's vision is nonetheless entirely new and, in a strikingly original conceptual and artistic approach, invites us to look back at the early fusion of men and mask that – erected as symbols – infuse the traits of each mortal. In particular, to underline the duality of a psychological component, Boldrin refers to the anonymous work "Mask of Zaire" kept at the Royal Museum of Central Africa, from which Picasso already drew inspiration – although with a primarily geometric interest – to realise "Les Demoiselles D’Avignon."

In his works, Boldrin depicts each new-born being entrusted with a mask as a small, white figure in embryonic and evanescent form, the symbol of a pure and authentic soul at the beginning of a new life. This figure holds up the great mask ready to wear it, with ever-changing gestures, with graceful and fluttering characters, never completely defined.

Boldrin, indeed, represents diverse "natives," each poised to be unique as regards their physiognomic, psychological, personality, and behavioural features.

There are masks overtly possessed by a demonic stance, conveyed through the warm pigments of the scarlet and blood red, and whose fiery eyes express the yearnings of a tormented and tormenting soul. Others, with darker hues, full of melancholy and mystery, recall signs of suffering, struggle and war. There are some in which the idea of a more serene soul devoted to reflection and analysis prevails, while others have a dreamier inclination and connect with a dancing and philosophical world. And again, masks with earthly colours – which appear more goliardic – recall pastoral and bucolic scenes.

These works present a strong figurative component which is aptly combined with the most abstract part, reminiscent of dreams and imagination. At times, the space becomes nearly theatrical, while other times the background turns largely abstract and adorned with psychological connotations. If masks on certain works show a marked, largely geometric structure, others merge with the being behind them to the point of adopting more human traits, as if they were a second skin.

Finally, the last work, on an almost black purple background, recovers the first mask of the exhibition which now – repainted in white – offers a ghostly appearance.

This work represents the end of life, the last moment men will wear their mask and in which both will cancel out.

A reflection that is narrated in works characterised by gestural instinct and intelligent tone calibration, between contrasts designed to emphasise sensations and moods, in colours as intense as life itself.

Francesca Catalano - Art critic and curator

Sergio Boldrin
First Mask

Men and their masks, an inseparable whole, take on a leading role in the new pictorial cycle of the Venetian artist Sergio Boldrin.

The artist's proposal is an emotionally-charged pictorial reflection which, like a "slap," leads to the primordial being, thoroughly exploring its most intrinsic nature.

Such exploration, however, aims to stress men's figure rather than the mask, leaving to the latter the major task of revealing men's most obscure traits while uncovering their true identity.

Boldrin, while drawing on his enormous knowledge as a master "mascarer," a constant cause for reflection for him, managed as a painter to escape from the heap of masks that accompany his every day, succeeding in unearthing the mask's meaning for the deepest self which any human has faced since the dawn of time.

In this selection of pictorial works, in fact, the mask is not intended in the theatrical terms of the "Commedia dell'Arte" or those of Carnival, but in an intimate and spiritual way, and is seen mainly in its innate appearance as a primordial face: men, the very moment they open their eyes to the world, receive a mask they will wear to their grave.

Referring to this concept, Boldrin drew inspiration from African masks to create his works. Other artists had already taken them as a point of reference in the past, in particular various exponents of Cubism, Fauvism and Expressionism in the avant-garde period of the twentieth century.

Boldrin's vision is nonetheless entirely new and, in a strikingly original conceptual and artistic approach, invites us to look back at the early fusion of men and mask that – erected as symbols – infuse the traits of each mortal. In particular, to underline the duality of a psychological component, Boldrin refers to the anonymous work "Mask of Zaire" kept at the Royal Museum of Central Africa, from which Picasso already drew inspiration – although with a primarily geometric interest – to realise "Les Demoiselles D’Avignon."

In his works, Boldrin depicts each new-born being entrusted with a mask as a small, white figure in embryonic and evanescent form, the symbol of a pure and authentic soul at the beginning of a new life. This figure holds up the great mask ready to wear it, with ever-changing gestures, with graceful and fluttering characters, never completely defined.

Boldrin, indeed, represents diverse "natives," each poised to be unique as regards their physiognomic, psychological, personality, and behavioural features.

There are masks overtly possessed by a demonic stance, conveyed through the warm pigments of the scarlet and blood red, and whose fiery eyes express the yearnings of a tormented and tormenting soul. Others, with darker hues, full of melancholy and mystery, recall signs of suffering, struggle and war. There are some in which the idea of a more serene soul devoted to reflection and analysis prevails, while others have a dreamier inclination and connect with a dancing and philosophical world. And again, masks with earthly colours – which appear more goliardic – recall pastoral and bucolic scenes.

These works present a strong figurative component which is aptly combined with the most abstract part, reminiscent of dreams and imagination. At times, the space becomes nearly theatrical, while other times the background turns largely abstract and adorned with psychological connotations. If masks on certain works show a marked, largely geometric structure, others merge with the being behind them to the point of adopting more human traits, as if they were a second skin.

Finally, the last work, on an almost black purple background, recovers the first mask of the exhibition which now – repainted in white – offers a ghostly appearance.

This work represents the end of life, the last moment men will wear their mask and in which both will cancel out.

A reflection that is narrated in works characterised by gestural instinct and intelligent tone calibration, between contrasts designed to emphasise sensations and moods, in colours as intense as life itself.

Francesca Catalano - Art critic and curator

Sergio Boldrin
First Mask

Men and their masks, an inseparable whole, take on a leading role in the new pictorial cycle of the Venetian artist Sergio Boldrin.

The artist's proposal is an emotionally-charged pictorial reflection which, like a "slap," leads to the primordial being, thoroughly exploring its most intrinsic nature.

Such exploration, however, aims to stress men's figure rather than the mask, leaving to the latter the major task of revealing men's most obscure traits while uncovering their true identity.

Boldrin, while drawing on his enormous knowledge as a master "mascarer," a constant cause for reflection for him, managed as a painter to escape from the heap of masks that accompany his every day, succeeding in unearthing the mask's meaning for the deepest self which any human has faced since the dawn of time.

In this selection of pictorial works, in fact, the mask is not intended in the theatrical terms of the "Commedia dell'Arte" or those of Carnival, but in an intimate and spiritual way, and is seen mainly in its innate appearance as a primordial face: men, the very moment they open their eyes to the world, receive a mask they will wear to their grave.

Referring to this concept, Boldrin drew inspiration from African masks to create his works. Other artists had already taken them as a point of reference in the past, in particular various exponents of Cubism, Fauvism and Expressionism in the avant-garde period of the twentieth century.

Boldrin's vision is nonetheless entirely new and, in a strikingly original conceptual and artistic approach, invites us to look back at the early fusion of men and mask that – erected as symbols – infuse the traits of each mortal. In particular, to underline the duality of a psychological component, Boldrin refers to the anonymous work "Mask of Zaire" kept at the Royal Museum of Central Africa, from which Picasso already drew inspiration – although with a primarily geometric interest – to realise "Les Demoiselles D’Avignon."

In his works, Boldrin depicts each new-born being entrusted with a mask as a small, white figure in embryonic and evanescent form, the symbol of a pure and authentic soul at the beginning of a new life. This figure holds up the great mask ready to wear it, with ever-changing gestures, with graceful and fluttering characters, never completely defined.

Boldrin, indeed, represents diverse "natives," each poised to be unique as regards their physiognomic, psychological, personality, and behavioural features.

There are masks overtly possessed by a demonic stance, conveyed through the warm pigments of the scarlet and blood red, and whose fiery eyes express the yearnings of a tormented and tormenting soul. Others, with darker hues, full of melancholy and mystery, recall signs of suffering, struggle and war. There are some in which the idea of a more serene soul devoted to reflection and analysis prevails, while others have a dreamier inclination and connect with a dancing and philosophical world. And again, masks with earthly colours – which appear more goliardic – recall pastoral and bucolic scenes.

These works present a strong figurative component which is aptly combined with the most abstract part, reminiscent of dreams and imagination. At times, the space becomes nearly theatrical, while other times the background turns largely abstract and adorned with psychological connotations. If masks on certain works show a marked, largely geometric structure, others merge with the being behind them to the point of adopting more human traits, as if they were a second skin.

Finally, the last work, on an almost black purple background, recovers the first mask of the exhibition which now – repainted in white – offers a ghostly appearance.

This work represents the end of life, the last moment men will wear their mask and in which both will cancel out.

A reflection that is narrated in works characterised by gestural instinct and intelligent tone calibration, between contrasts designed to emphasise sensations and moods, in colours as intense as life itself.

Francesca Catalano - Art critic and curator

Sergio Boldrin
First Mask

Men and their masks, an inseparable whole, take on a leading role in the new pictorial cycle of the Venetian artist Sergio Boldrin.

The artist's proposal is an emotionally-charged pictorial reflection which, like a "slap," leads to the primordial being, thoroughly exploring its most intrinsic nature.

Such exploration, however, aims to stress men's figure rather than the mask, leaving to the latter the major task of revealing men's most obscure traits while uncovering their true identity.

Boldrin, while drawing on his enormous knowledge as a master "mascarer," a constant cause for reflection for him, managed as a painter to escape from the heap of masks that accompany his every day, succeeding in unearthing the mask's meaning for the deepest self which any human has faced since the dawn of time.

In this selection of pictorial works, in fact, the mask is not intended in the theatrical terms of the "Commedia dell'Arte" or those of Carnival, but in an intimate and spiritual way, and is seen mainly in its innate appearance as a primordial face: men, the very moment they open their eyes to the world, receive a mask they will wear to their grave.

Referring to this concept, Boldrin drew inspiration from African masks to create his works. Other artists had already taken them as a point of reference in the past, in particular various exponents of Cubism, Fauvism and Expressionism in the avant-garde period of the twentieth century.

Boldrin's vision is nonetheless entirely new and, in a strikingly original conceptual and artistic approach, invites us to look back at the early fusion of men and mask that – erected as symbols – infuse the traits of each mortal. In particular, to underline the duality of a psychological component, Boldrin refers to the anonymous work "Mask of Zaire" kept at the Royal Museum of Central Africa, from which Picasso already drew inspiration – although with a primarily geometric interest – to realise "Les Demoiselles D’Avignon."

In his works, Boldrin depicts each new-born being entrusted with a mask as a small, white figure in embryonic and evanescent form, the symbol of a pure and authentic soul at the beginning of a new life. This figure holds up the great mask ready to wear it, with ever-changing gestures, with graceful and fluttering characters, never completely defined.

Boldrin, indeed, represents diverse "natives," each poised to be unique as regards their physiognomic, psychological, personality, and behavioural features.

There are masks overtly possessed by a demonic stance, conveyed through the warm pigments of the scarlet and blood red, and whose fiery eyes express the yearnings of a tormented and tormenting soul. Others, with darker hues, full of melancholy and mystery, recall signs of suffering, struggle and war. There are some in which the idea of a more serene soul devoted to reflection and analysis prevails, while others have a dreamier inclination and connect with a dancing and philosophical world. And again, masks with earthly colours – which appear more goliardic – recall pastoral and bucolic scenes.

These works present a strong figurative component which is aptly combined with the most abstract part, reminiscent of dreams and imagination. At times, the space becomes nearly theatrical, while other times the background turns largely abstract and adorned with psychological connotations. If masks on certain works show a marked, largely geometric structure, others merge with the being behind them to the point of adopting more human traits, as if they were a second skin.

Finally, the last work, on an almost black purple background, recovers the first mask of the exhibition which now – repainted in white – offers a ghostly appearance.

This work represents the end of life, the last moment men will wear their mask and in which both will cancel out.

A reflection that is narrated in works characterised by gestural instinct and intelligent tone calibration, between contrasts designed to emphasise sensations and moods, in colours as intense as life itself.

Francesca Catalano - Art critic and curator

Sergio Boldrin
First Mask

Men and their masks, an inseparable whole, take on a leading role in the new pictorial cycle of the Venetian artist Sergio Boldrin.

The artist's proposal is an emotionally-charged pictorial reflection which, like a "slap," leads to the primordial being, thoroughly exploring its most intrinsic nature.

Such exploration, however, aims to stress men's figure rather than the mask, leaving to the latter the major task of revealing men's most obscure traits while uncovering their true identity.

Boldrin, while drawing on his enormous knowledge as a master "mascarer," a constant cause for reflection for him, managed as a painter to escape from the heap of masks that accompany his every day, succeeding in unearthing the mask's meaning for the deepest self which any human has faced since the dawn of time.

In this selection of pictorial works, in fact, the mask is not intended in the theatrical terms of the "Commedia dell'Arte" or those of Carnival, but in an intimate and spiritual way, and is seen mainly in its innate appearance as a primordial face: men, the very moment they open their eyes to the world, receive a mask they will wear to their grave.

Referring to this concept, Boldrin drew inspiration from African masks to create his works. Other artists had already taken them as a point of reference in the past, in particular various exponents of Cubism, Fauvism and Expressionism in the avant-garde period of the twentieth century.

Boldrin's vision is nonetheless entirely new and, in a strikingly original conceptual and artistic approach, invites us to look back at the early fusion of men and mask that – erected as symbols – infuse the traits of each mortal. In particular, to underline the duality of a psychological component, Boldrin refers to the anonymous work "Mask of Zaire" kept at the Royal Museum of Central Africa, from which Picasso already drew inspiration – although with a primarily geometric interest – to realise "Les Demoiselles D’Avignon."

In his works, Boldrin depicts each new-born being entrusted with a mask as a small, white figure in embryonic and evanescent form, the symbol of a pure and authentic soul at the beginning of a new life. This figure holds up the great mask ready to wear it, with ever-changing gestures, with graceful and fluttering characters, never completely defined.

Boldrin, indeed, represents diverse "natives," each poised to be unique as regards their physiognomic, psychological, personality, and behavioural features.

There are masks overtly possessed by a demonic stance, conveyed through the warm pigments of the scarlet and blood red, and whose fiery eyes express the yearnings of a tormented and tormenting soul. Others, with darker hues, full of melancholy and mystery, recall signs of suffering, struggle and war. There are some in which the idea of a more serene soul devoted to reflection and analysis prevails, while others have a dreamier inclination and connect with a dancing and philosophical world. And again, masks with earthly colours – which appear more goliardic – recall pastoral and bucolic scenes.

These works present a strong figurative component which is aptly combined with the most abstract part, reminiscent of dreams and imagination. At times, the space becomes nearly theatrical, while other times the background turns largely abstract and adorned with psychological connotations. If masks on certain works show a marked, largely geometric structure, others merge with the being behind them to the point of adopting more human traits, as if they were a second skin.

Finally, the last work, on an almost black purple background, recovers the first mask of the exhibition which now – repainted in white – offers a ghostly appearance.

This work represents the end of life, the last moment men will wear their mask and in which both will cancel out.

A reflection that is narrated in works characterised by gestural instinct and intelligent tone calibration, between contrasts designed to emphasise sensations and moods, in colours as intense as life itself.

Francesca Catalano - Art critic and curator