In front of the works presented by Robin Clerici at Spazio Menexa, the viewer questions what the true subject of the paintings is. The image of the characters seen from above is in the foreground, but are the subjects or their shadows more important? The overhead perspective is accompanied by the presence of the individuals’ shadows, prompting reflection on why these people are in that place and what they are doing, in an atmosphere of rarefaction and suspension where the individuality of the characters can be perceived. A group merges through the shadows, which come to life and acquire their own specific identity. The shadows seem to communicate with each other and become the dominant subject, almost suggesting that beneath the apparent indifference of the individuals, a connection of another nature arises between the souls of people.

A reflection on the invisible naturally arises. There is a precise geometric placement that could reveal the hidden meaning of the work, deliberately concealed, as well as the contrasting intent of the two larger exhibited paintings: one circular and one linear arrangement, which highlight the multiple relational possibilities among individuals and recall our own isolation. Only the shadows meet in a multiplicity of relationships and connections. The circle is interpreted as a symbol of completeness and union, and the straight line represents order, equality, and alignment; the foreground shadows follow the geometric arrangement but subvert its meaning, minimizing the importance of the layout and creating a relational mixture. In other paintings, the artist investigates the individuality of people. The triptych “W 54st.” depicts pedestrians on a New York street walking individually, with no interaction or mix; they are people with needs and objectives accompanied by their own shadows. In this case, the shadow represents that part of us which cannot be resolved collectively, indicating true individuality and correspondence.

The dense material applied to the canvas gives the paintings the weight necessary to influence the gaze, providing a sense of suspension in an unreal place and an indeterminate time. The colors differ from his previous works, with a tendency toward lighter tones that emphasize what should be complementary to the drawing, which it is not by its meaning. The shadows, in fact, stand out clearly as additional characters, overriding the weight of the material. The sensation of being able to stop time—the transition between past and future—is another significant element the artist achieves in his works. The temporal dimension in which events are conceived and measured is thus eliminated in favor of conceptual meaning, leaving the viewer stripped of distractions and focused on the essence of individual and collective existence.

Robin Clerici’s elegant work has an evocative power that comes through the subtle physicality of his characters and the solitude imposed by the desolate places they occupy. The weight and concreteness of the material painting keep the viewer suspended in an indeterminate time, conveying a gentle emotional and meditative tension.