Vision

The body of work positions contemporary fresco as a critical and reflective instrument within the expanded field of artistic practice. Far from invoking historical revival, fresco is adopted as a conscious form of resistance to the accelerated temporality of today’s visual culture.

Its material conditions — irreversibility, duration, and physical adhesion to architecture — restore ethical weight to the image. Time is no longer erased through revision or reproduction, but inscribed into the surface itself. Each work becomes a site where matter, intention, and transformation converge, turning the act of painting into a meditation on commitment, presence, and consequence.

Both portrait and installation are conceived as contemplative devices. They do not offer answers, but open a space of questioning around the nature of art and the meaning of the pictorial act itself. Painting here is not an act of representation, but an inquiry — a sustained reflection on what it means to produce an image in a world saturated with them.

Portraiture is articulated as effigy. The figures are not approached through likeness or biography, but through symbolic construction. Artists, thinkers, and individuals of civic relevance emerge as archetypal presences, suspended between personal identity and collective memory. Each face becomes a field of projection, inviting the viewer to reconsider the boundaries between image, self, and society.

Within this framework, painting is understood as cultural agency. It sustains attention rather than immediacy, proposing a form of awareness that resists consumption. The work aligns with the ethical principles articulated in the United Nations Charter, affirming the role of culture in fostering dignity, dialogue, and social consciousness — not through illustration, but through the silent force of presence.

Installed directly within architectural space, the frescoes transform the wall into a participant. No longer a neutral support, it becomes a bearer of time, labor, and historical continuity. The image emerges as an event that exceeds the moment of exhibition and continues to act within memory.

This project ultimately proposes painting as a durable mode of inquiry — a practice in which material commitment becomes inseparable from ethical responsibility, and where the image assumes accountability toward both the present and its future.

In this work, painting is no longer an object to be observed, but a threshold to be crossed. Each effigy, each installation, each fresco becomes an open question: what remains of art when the image ceases to be consumption and returns to being experience?

In a time that produces images without memory, these works reaffirm the value of the slow, irrevocable, and responsible act. They do not seek to seduce, but to arrest. They do not ask for agreement, but for presence.

Here painting does not represent the world: it interrogates it. And in this act of questioning, it restores to art its most radical task — that of transforming vision into consciousness.