The exhibition curated by Lorenzo Canova is a unitary and polymorphic journey into the work of Maurizio Pierfranceschi (Rome, 1957), characterized by an incessant experimentation of solutions offered by painting and sculpture, blending abstraction with the emergence of figural elements and dialogue with nature into a vision of conceptual origin.
 

The exhibition, titled Muta e mutevole (Changeable and Mutable), alludes to an idea of painting as a language that is both eloquent and silent, bringing together about seventy works including paintings and sculptures representative of the artist's entire production, including about ten created specifically for this occasion (such as the paintings Pallido (Pale), Tra le macerie (Among the Ruins), Il botanico (The Botanist) and the oak wood and iron sculptures Kouros and Giraffa). From the 1980s to the most recent production, the works are juxtaposed for their thematic and stylistic proximity, even if sometimes created years apart.  
 

The exhibition path begins with the most recent cycle of paintings, characterized by a compact and luminous chromatic structure and animated by a dialogue with beloved artists of the past, and continues with works marked by a material-objective painting (L'uomo e l'albero (The Man and the Tree), 2016; Solitario (Solitary), 2013; Selva (Forest), 2013) placed in dialogue with some sculptures (Slitta portaossa (Bone Carrier Sled), 2011). Subsequently, one encounters the large painting-installation Opera (Work), 1990 and the paintings Pastorale (Pastoral), 2009 and Metopa 5, 2011, in which the void confronts the shining "fullness" of painting. The path continues with paintings obtained with nuanced and vibrant brushstrokes with mysterious boundaries (Melanconia (Melancholy), 1998; Sui corpi sommersi (On Submerged Bodies), 2000; In terra limosa (In Muddy Ground), 2000) and with a cycle of more recent works where painting evokes puddles and vegetation, reflections of water and foliage, in a dimension suspended between iconic permanences and abstract suggestions (Terre d'ombra (Shadowy Lands), 2024; Exsiccata verde (Green Exsiccated), 2008).
 

The path is marked by the constant presence of some sculptures created over the years, representing almost a three-dimensional extension of his pictorial vision.

The exhibition is conceived as a sort of large installation, through an "environmental" vision based on the symbolic cornerstone of the sacredness of painting, its ability to be reborn and renew itself beyond ephemeral styles and temporary trends.