I.N.R.I.

The work expresses a deliberately provocative sense, through the emphasizing and dimensional disproportion of the acronym INRI (Iesus Nazarenus Rex Iudaeorum) and the use of antinaturalistic and cold materials. The letter is the texturizing element that, repeating itself arbitrarily on the plane, gives it the plastic shape and the formal rigor. The models that inspired me are of Nordic derivation, among them the German and Flemish painting of the sixteenth century, especially in the choice and combination of colors: black and red, in fact, recall crucifixions and portraits that have made famous artists dear to me such as Brueghel, Altdorfer, Cranach, Durer and Baldung. The work is provocative but not disparaging, it wants to be, if anything, a passionate and contemporary testimony of that episode that was consumed on Mount Golgota almost two thousand years ago.