BRUNO DUNLEY

Chiarelli discusses the show’s eponymous painting, No meio (2016), which can be understood as an emblem for artists who resist the naturalization of this imagistic overload. ‘presents itself as a mirror which apparently reflects nothing, carrying the inscription ‘no meio’ (written, not reflected).’

The curator points out that the paintings Dunley has been putting out in recent years are replete with mirrors of this kind, which do not reflect the world, but mark a precise spot at the center of many of his creations. ‘By making these artworks, situated as they are between the affirmation of pictorial artmaking and the presence of signs from that ocean of images that has been definitively made into our new first nature, Dunley seems to find, in these blind mirrors he makes, the last fortress, or the last lighthouse to guide him, preventing him from submerging for good.