On the walls is the triptych Ossicodone (2020), made on panels of pressed chipboard on which concentric faces have been carved, engraved, eroded and insisted upon, in a sort of “synaesthetic circle” – as the artist himself defines it – mixing eyes, mouths, and nostrils. In this tumultuous vortex, physiognomic features are no longer distinguishable, the faces become masks of astonishment, animal heads, almost swallowing the viewer. The works are made with coloured pencils, oil pastels, lipsticks, waxes, charcoals, graphite, ash, impregnating agent, in short everything within the artist’s reach in his studio and useful for this powerful, performative and at times violent physical action of repeated superimposition of the same drawing. I see these works as a continuation or natural evolution of the Inoculati cycle, which was first presented at MAMbo in Bologna in 2011, in which the large panels were occupied by a single face, each with the same mechanical repetitiveness, obstinacy of signs, perpetuation of a hollow and profound obsession. (Lorenzo Balbi)