04_Giada

In ‘Giada’, Michelino Iorizzo shifts the portrait out of the narrative dimension and transforms it into a field of emotional tension. The face is never completely defined: it emerges, hides, re-emerges among marks, drips and layers that seem to record the artist's time and gestures.

The painting is physical, instinctive, constructed through accumulation and abrasion. The colour is pushed, scratched, allowed to drip, until it creates a living, unstable surface in which figuration and matter contaminate each other. In the Roman artist's research, the face becomes a mental place, a suspended, open identity that is only completed in the gaze of the observer.

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