Power is the exercise of the boundary.
How to trace and traverse the lines of existence while simultaneously experiencing the questioning territory of coexistence — the place where the vocabulary of possibility reveals itself.

Power is a game of moral balance. Resistant labour and the geometry of limit. To deprive or deprive oneself before the banquet of possession.

This Pasto a due — a table laid out with possible conquests — becomes a treatise on strength, on yielding and resisting, on consuming or preserving, on succumbing and renouncing or subjugating. It is obsessively recounted through what remains of two bodies caught in the act of contention.

They are the brothers of Seneca’s tragedy Thyestes: harsh and merciless in their hunger for possession. They are what survives of them — terrible shadows, birds of the night recalling Tantalus, embodiments of conflict, hatred and atrocity.

They sit composed at the banquet table upon which, according to the Latin tragedian’s account, the most ferocious of revenges will be consummated.

They remain suspended in the instant preceding the narrative’s epilogue: that space where doubt and tension, having reached their apex and prolonged through infinite time, begin to alter and fracture the surface of their composure, gradually dismantling the forms of etiquette.

And here the tragedy is already unfolding — within the slow dripping of the question, of possibility, of futile hope; within the overturning of logic, the excess of desire, the impossibility of absolute reason and the monsters produced by its dream.

With PASTO A DUE, the diptych inspired by the myth of the Atreides — initiated with the previous creation PUNTO DI FUGA — reaches its conclusion.