work
Skin of silence
| category | Painting |
| subject | Architecture, Abstract, Human figure |
| tags | architettura, pelle, interiorità, mente umana, gabbia, gabbie interiori, olio, acrilico, acciaio, geometrico, skin, architecture, human, human mind, cage, oil, acrylic, steel, geometry, interiority, inside us |
| base | 60 cm |
| height | 80 cm |
| depth | 2 cm |
| year | 2025 |
mixed media – oil, tempera, acrylic, steel on canvas
The cage is part of a planimetric drawing, a geometric structure that seems to oscillate between the idea of connection and that of separation.
The rectangular metal element is arranged like an incomplete architectural module, a layout that opens and closes, suggesting both possibilities of passage and invisible barriers.
The background, a warm and irregular pink, recalls the color of human skin. This element is not a mere chromatic backdrop, but a living presence that envelops and interpenetrates the structure.
It is as if the cage were not placed in an external space but inscribed within our very substance, an integral part of the body and identity.
The work thus moves in a boundary zone between architecture and anatomy, between the technical drawing of a space and the intimate map of the self.
The rigidity of the lines contrasts with the organic vibration of the background. The tension between these two visual languages opens a reflection on the ambiguous nature of boundaries: those that protect us and, at the same time, imprison us.
Within this tension, the viewer is invited to question how much of their own cage is constructed by the external world and how much is instead rooted—inescapably—within their own skin.
The cage is part of a planimetric drawing, a geometric structure that seems to oscillate between the idea of connection and that of separation.
The rectangular metal element is arranged like an incomplete architectural module, a layout that opens and closes, suggesting both possibilities of passage and invisible barriers.
The background, a warm and irregular pink, recalls the color of human skin. This element is not a mere chromatic backdrop, but a living presence that envelops and interpenetrates the structure.
It is as if the cage were not placed in an external space but inscribed within our very substance, an integral part of the body and identity.
The work thus moves in a boundary zone between architecture and anatomy, between the technical drawing of a space and the intimate map of the self.
The rigidity of the lines contrasts with the organic vibration of the background. The tension between these two visual languages opens a reflection on the ambiguous nature of boundaries: those that protect us and, at the same time, imprison us.
Within this tension, the viewer is invited to question how much of their own cage is constructed by the external world and how much is instead rooted—inescapably—within their own skin.
