Louis Fratino's passionate observations of friends and relatives have a fictive, allegorical quality. His fields of vivid color and his expressive style recall early Modernist portraiture, although his interpretations of the male form mine a visual history that goes back at least to ancient Greece. He pictures an intimate realm of subjectivity and desire that the outside world infiltrates only through refraction and sublimation.
Piotr Makowski's reflection is based upon the international historical avant-garde the artist however dispossesses from any prevailing formal contents. The new Neopopavantgarde large scale painting can therefore be read as questioning the nature of painting and its potentialities into contemporaneity, through the prism of Modernism and Pop Art. Imbued as well by strong self-portrayal connotations, Makowski's works reveal at the same time the artists' respect and fairly acknowledged approach to the matter of painting.
Sean Townley presents one of his major installations entitled Opera (in aluminum) (2017), a suspended rack of measuring chains with lead ends that is the replica of a classical appliance employed to prepare the proportions of a sculpture from a block. Through the reenactment of an academic device, the apparatus conjures the absent statue (a ram-headed lion located at the entrance gate of the Amun Temple in Thebes), emphasising its mechanical reproduction and nodding to a modernist seriality of forms where the notions of surfaces, restoration and History are interlaced.