Conjunctions, distances, incommunicability with the external environment and the points of contact between dissolute pleasure and sentimental introspection are articulated in three moments, corresponding to three interconnected exhibition spaces.

Preface: Le Esistenze Impossibili presents itself as a decompression chamber preceding the entrance into a world of private enigmas and psychic metamorphosis, bringing to the surface the gaps between real life and the artistic creation shaping new concepts, that would be otherwise incommunicable. In opening, the painting Conflict Dance introduces themes that will later explored in the works to come. Inspired by Virginia Woolf’s Orlando , the work synthesizes concepts such as transformation and change, leaving the idea of becoming open. Mythological figure blending together female and male identities – it recalls the  banana flower and plant used in the paintings in the other sections, it symbolically summarizes the dichotomous gender contrast – and at the same time makes a nod to the idea of fusion between genders. Le Esistenze Impossibili are debris of a paradox, remnants of mysterious meanings at the basis of Mulas’ poetics.

Equally embedded in the artist’s soul, in a fierce riot of colors and mixture of various daring techniques, is the conception guiding the reading of All the stars of your night , the main development of the exhibition. A discourse dedicated to family members and to Mulas himself, this chapter materializes innocence – decoded as sexuality erotic and free, primitive and refined, shrewd and childlike all the same –  which is superimposed with bursting spontaneity to attitudes and orientations. Private symbols are subtracted from the principle of immediate communication, with an arcane language strengthening the perceptive element in favor of the cognitive one, highlighting the instant fact – what is abstract but actually perceived – and at the same time exasperating the concreteness of the object. A peculiar expressive code, opening the subject’s steadfast vitalism to the contexts of collective memory – a real “open letter to loved ones”, graceful and powerful characters, totemic allegories in the wandering of stars that have crept into the composition.

Finally, the vision of Doppio Sogno is a separate ending heading in a parallel direction: reusing the metaphor of dream – as in the introduction – childhood is narrated up until the discovery of sexuality and its overcoming thanks to the beloved woman. In a motion following that of All the stars of your night, through stages of memories shaped by dreams and by the fantastic and metaphorical rewriting of the female character and her sexuality, a circle is closed where impulses, traumas and memories (and the overcoming) of both characters are the engine of a parallel world in which fantasies invade and engulf reality. Bodies are no longer individual entities but specular borders, “portions of universes built by a multitude of stars”. 

After all, the exhibition is developed according to the idea of sharing – the your of the main title indeed makes a nod to the ambivalence between “yours” and “our” night – emotional before tangible, in search of a learned and understanding interlocutor, able to treat the matter with sensitivity and irony.

Federica Maria Giallombardo