2016, October 22,23: “studio d'arte viola” opens to present the Viola Di Massimo's last works “The monster in the box”. The exhibition continues till October 29 with the ROME ART WEEK.

“The Monster in the box” is made up of a set of figures vociferous, harrowing, irritating. As a bait, the aptitude to listening attracts the monster. Listen to the monster, and the monster devours you.

Faces and fauces wide open, desperate and vociferous. Millions of words, groans and bleats, without breather, without break, without restraint. The monster is who vomits on whom has the uncommon capacity of listening to the suffering and self-centred monster's ego. A jet of corrosive black lava for the listening friendly benefactor. The monsters in the box don't have ears; they are almost only huge deformed mouths. The jet of little black balls is on the point of hitting, violent, disruptive, devastating.

The monsters are insensitive to anyone, disregard anything; they are only in perennial research of who has the patience of listening to them. As they pick out the fittest one they lock him, engulf him, and for the victim all it's over. A muddy logorrhoea overwhelms and slowly and inexorably smothers the victim.They have to tell anything, dissect and shuffle into their agony in any minute detail. Their distress is bigger, major, more shattering than ours. We do not count.

If the listener lived traumatic experiences it doesn't interest; it's enough he have ears and heart to understand, and for them that’s all. They do not search more. The monster is protagonist, well lighted, smart, immaculate, at the centre of the stage. The listener is the place where the monster shows himself off. He has been waiting for a long time this moment, a place quite for him, a place where bursting his very important black drama. The listener is no more than a listening point.

The monster in the box's works are made of clay, that is a perfect medium for what Viola likes to express. The transformation that comes out changing look at any move, that comes out in the face's exacerbation at any pressure of the fingers already realizes the endless groan that, as the ckay drying, will remain interlocked in the present moment subtly resonating in a silent claustrophobic aowl.

In these last works too there are black pearls: symbols often used by the artist to epitomize life's experiences “distilled and boiled down”. Small solid hearts coming from real life. Heavy as the soul. But in this work heavy as the monster that generates them.

In this case the pearls are scattered, devoid, as the monster hadn't understood and hadn't respected and cared even of his past experiences, in addition to us; so that the distilled essence be wasted for ever.

The faces expressions and features are impressive; and of course it has to be so because the monster practises for tragedy, because anguish has to be only his own, major as possible; and has to be able to express it at any cost surpassing all that surrounds him till altering his own physiognomy. He must catch the listener, make him his, put him up into his precious ego.

Be clear; we all can be that monster, including who is writing these words. This is the point and this is the worry.

But it could be enough a moment of lucidity to perceive that when we are on the point of changing ourselves we could use the same transparent shadow box that the artist devised to contain their beings. So we can keep him at bay. Boxing him up in a claustrophobic room to watch and containing him in a corner inside ourselves, dangerously fascinated.There it is the monster. In a shadow box, for respecting other people’ s mental and sensitive space; all we would have need of telling, but of listening too, so to reduce our monster and appreciate other people's importance and perception.

One of the monsters will be kept by the artist as warning because nobody, not even they that are not so, will be for ever free by the danger of letting come out the vociferous monster that we all host inside ourselves.

Andrea Volterra

The monster in the box is promoted by the artisitc movement Propaganda per la Civilizzazione delle Masse (Propaganda for the the civilization of the masses)