The unique and unclassifiable work of Alessio Barbera has to be read like a diary, revealing the painter’s state of mind over time. It is a question of apprehending his different paintings as an indivisible whole with different figures and portraits, where the subject is both artist and model.

Taking into account the public, the exhibition of these self-portraits marks the beginning of a dialogue and a common reflection with the viewer who feels both observer and observed.

These works materialize the biographical function of the portrait through the visual and poetic expression of a narrative and the associated emotions. Alessio’s almost therapeutic and cathartic gestures give rise to the transcription of his interiority. Portraits, self-portraits and figures appear as an autopsy of the human figure, a psychological mirror.

From South-East Asia to Berlin, Australia and Georgia, which inspired him, this self-taught artist is nourished by his wanderings. These trips allow him to binge consume various and varied images that forge his very personal aesthetic. In addition, there is the period of lockdown, which is conducive to introspective reflection. These multiple memories passed through the prism of mental digestion are superimposed on the canvas in violent touches agitated by emotion.

It is absolutely necessary to emphasize the importance of the process of creating these unique pieces. The artist tries on various media, according to what he finds on the moment, without a definite idea of a final result. In this dark and expressionist paintings, the viewer feels the urgency of painting, which gives rise to a real creative frenzy, difficult to stop. When the discomfort and the motive run out, the painter finds relief through this introspective creation.

At the end, what remain are works on paper, cardboard, canvas and walls, with contrasting colours, sometimes violent, sometimes sinuous brush strokes. This touch depicts human figures whose identity is lost in infirm masses, beaten by distortions reminiscent of the work of Francis Bacon. The gesture embodies the torments of the inner Self.