Accomplice Serie - Tempera and Egg Tempera - 2021

Accomplice is a series of paintings that emerged during the haunting experience of watching Salò, or the 120 Days of Sodom by Pier Paolo Pasolini. These works are not direct representations of the film, but rather a visual response to its philosophical weight—its unflinching exposure of power, obedience, and the complicity of silence. Painted with tempera on raw canvas, the series explores the psychological space where beauty and violence intersect, and where form becomes a vessel for rupture.

At the heart of the series is the contrast between flesh and structure—between the soft, bruised vulnerability of bodies and the rigid, angular precision of architectural elements. The human figures are fragmented, contorted, and weightless, often reduced to gestures or remnants. They hover near ruins or are enclosed within stage-like arenas. These architectural spaces—reminiscent of fascist monuments and institutional theatres—suggest the performative nature of control and the invisible scripts that shape our roles within society.

The structures do not function as backdrops but as active agents. Their presence is cold, imposing, and inescapable. They mirror the theatricality of regimes, where life becomes performance, and deviation is punished with erasure. The settings, though geometric, are unstable, leaning, incomplete, and exaggerated, revealing the artificiality of power and the fragility of constructed order.

This body of work is not only a study in defragmentation—of bodies, identity, and meaning—but also a reflection on architecture as a symbolic language. Some of the spatial references derive from personal memory, others are fictional reconstructions influenced by Pasolini’s imagery and the aesthetics of stage design. The tension between these elements creates a surreal, dissonant environment, inviting viewers to confront the limits of empathy, the mechanics of authority, and the fine line between witnessing and participating.

Ultimately, Accomplice does not seek resolution. It lingers in discomfort, where vulnerability and domination coexist. The paintings are not just compositions—they are confrontations.