The particular occasion for the exhibition comes from a journey that turns out to be as aimless as it is metaphorical. The peculiar reflections in the windows of the wrong train and the one you catch to get back on the right path. At least to the path that a person has determined to be correct. Reflection is its own extensive theme, but in this particular exhibition the gesture arises from the dual image that reminds of the two opposite essences of every person. The antinomy, stretched out and, at the same time, compressed in the inner space, at any given moment. In the attempt to contextualize the project, references are made to Janus, the two-faced deity, often placed on the threshold in antiquity. This fixation of territories as fluid and fixed, separated by a threshold, leads to the unconventional choice of technique – raw plaster with pigments and water.
The original fresco technique allows only a short window of a few hours for work; this window is the time when everything can change, be adjustable, and when the composition takes shape in its color and flesh. When the liminal moment passes, everything freezes in the stark clarity of the hard plane/wall. Only the dual image reminds us that while this piece of wall was fictile, a window or a door to the other, it was at the same time an “in-between” state.
The exhibition includes 7 works in original fresco technique and 7 of their enlarged scale reproductions. The reproductions are of poster size and technique, a kind of modern ersatz of the fresco, highlighting the difference between the techniques as carriers of the image and the message. Between the poster of a man and his chalky, hard self, between the copy and the original, between the two faces of Janus - the outward and inward - another urgent general question is posed.
If we have to quote anyone, let it be the cynical philosopher of a bygone era, who, from the height of his self-created eccentricity, often appears to be right.
