Gerardo Brogna, with a specific background in fashion, in which he is professionally engaged, has developed research focused on aesthetic communication centered on the pictorial image, starting from the premise that fashion is currently the most widely consumed art form, perhaps alongside advertising. This latter aspect has already been highlighted by the organized art system in the United States. Brogna has created his own distinctive language, deeply imbued with intelligent and good-natured irony, managing to draw inspiration from the most important figures who have worked and continue to work in fashion around the world while also incorporating strong references to both classical art, particularly Roman and Greek architecture, and the Renaissance, in an extraordinary vision that references and transforms the decorative richness of the Churrigueresque Baroque from Spain to the viceroyalties of America. Brogna has also invented a technique that enhances his creative streak, using materials offered by the latest technological advances. He has also added painting-on-painting interventions, enhancing the perceptive effects of those brilliant colors he has always favored. The layout, with its multiplicity of symbolic references, resembles a dreamlike vision, fostered by a keen sensitivity to nature. Often, the quotations reveal a strong irony that tolerates and understands, yet observes with acute intelligence. The choice to return to painting perhaps stems from the need to offer times and modes of perception beyond the explicit relationship between signifiers and signifieds, in a kind of collage that introduces a reflection on the idea of ​​beauty in contemporary “Western” society and on the role of visual memory. The awareness of being in the midst of a cultural revolution that risks producing chaos through the loss of spatial-temporal coordinates and verbal communication itself has contributed to the originality and creation of Gerardo Brogna’s works. He has not renounced certain “pop art” influences in his relationship with everyday life, yet he has inserted them into a “cultured” context that does not abandon tradition. The approximately fifteen works presented vary in size according to their themes, ranging from 50×70 to 240×130 cm. This exhibition brings together the artist’s production over a decade, and some of these themes have been revisited and integrated, having become part of the artist’s very existence. The symbols, from a rich repertoire, are dispersed and arranged in bold and arbitrary relationships or isolated. His attention to the animal world also finds some dogs as protagonists in situations where an unveiled irony towards advertising messages triumphs, while at the same time demonstrating affectionate solidarity. In the exhibition rooms, the largest works dominate the spaces and invite the viewer into a new monumentality. References to the ancient world or to the Churrigueresque Baroque overturn the appearance of an original version of pop, just as the vaguely neo-surrealist virtuosity of the execution, in which the dreamlike element is complemented by a bold, highly personal selection of colors, builds the originality of the style. Landscapes are laid out, appearing like collages or mosaics, with correspondences that are both playful and powerful. The viewer, the “consumer,” experiences the emotional impact provoked by the complexity of the condensed themes. For this reason, some paintings, the larger ones, recall Hieronymus Bosch or the opening of the curtain with a paradoxical stage, a narrative that illustrates the title of a painted work. The artist does not forgo three-dimensional inserts and hand-touching. The pleasure of creating inspired him to reassemble some frames, which thus became parts of the work, created with a highly personal technique. Irony becomes empathetic in a revealing series of portraits of fashion icons such as Valentino, Versace, and Dolce & Gabbana. The essential pursuit of beauty and elegance, even in the compositional jumble of images in arbitrary spaces and perspectives, reveals the highly personal and bold signature of Gerardo Brogna, who has successfully observed and repurposed what was the most widespread artistic experience of the second half of the 20th century.