I have always been fascinated by Mexico, the country where I live, for its natural beauty, its millenary culture, the coexistence of different ethnic groups, the legends and history of pre-Hispanic populations, the sense of magic and its art. In the past century, this country has been a crucial point of reference for democracy and the defense of human rights when totalitarianism and the war of oppression reigned in the West, just as it was in the expression of a concept of communism far removed from the Soviet and Chinese model. The difference lies in tha fact that mexican communism concept drew its origin and lymph from the pre-Hispanic culture which was based on the concept of collective well-being and not of appropriation of wealth and control of peoples. Mexican art of the past century has endorsed the achievements of the historical avant-gardes of 20th century going one step further into the concept of democratization of art and abandon of academic languages ​​through the Mural. The Mexican murals anticipate by fifty years the first attempts of Western contemporary art to interact with the public and break down the barrier of access to art by everyone and not just by the select few of the wealthiest and educated classes, creating, de facto , the communist concept of art. The museum space, questioned only recently by the usual cultural and artistic elites who monopolize and control the art world by taking possession of artistic knowledge, was replaced precisely in Mexico and long ago by an urban artistic language where the work could be exhibited in a garden, in an avenue or cover the sides of a building or the walls of a theater or hotel, thus guaranteeing the true enjoyment of art for all.

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During my frequent visits to Palacio de Bellas Artes in Mexico City, each time I am taken and overwhelmed by the works of the great Mexican masters such as Rivera, Orozco and Siqueiros whose murals are housed inside the building. In an almost dizzy state, typical of a probable Stendhal Syndrome, I found myself observing the behavior and reactions of visitors, especially the younger ones whose attention span is extremely limited, as a result of the speed of communication and thought of nowadays. I thus understood that the story told in the large murals that had an intent of education, emancipation and social redemption, was observed by the public not in its whole but only in some of its parts and I found myself, without my knowledge, behaving in the same way. Since I have a sincere love and respect for the Mural and I fully share its intentions, I wondered how to paint a mural nowadays where the sense of fullness has been replaced by the sense of emptiness, where a single image is enough to communicate a concept because our mind is trained at the speed of thought. Far from considering myself an artist of the same stature and importance as the great Mexican masters, I tried painting a sort of reproduction of some parts of the murals of the three artists that had overwhelmed me and then placing them on a white wall. In doing so, I respected only the narrative criterion of the historical murals, which foresees the good on the left and the bad on the right and in the center the representation of what leads to social disharmony and the suffering of humanity. After being criticized by those few Mexican visitors who saw my attempt as a typically Western gesture of pride and arrogance in attempting to represent the soul and great Mexican art, I took a step forward and almost sacrilegious to my concept of art: I wrote what in my opinion each particular represented right above the painting, thus freeing myself from any accusation of arrogance and trying only to be understood in my simple and truthful attempt dictated only by my passion to save and repropose nowadays the revolutionary language of the Mural.