Ninni Pagano (1969) - L'ampolla di Eva

Ninni Pagano was born in Catania. Always passionate about Wunderkammer and about everything nature offers in its beauty, this passion led him to study in the studio of master Antonio Sciacca, his teacher. It was 2011, and from that moment his artistic career began, propelling him to increasing prominence and earning the esteem of critics such as Aldo Albani, Roberta Filippi of the Orler Gallery, Philippe Daverio, and Daniele Radini Tedeschi. In 2016 his name appears in the prestigious American guide Guide Museums Galleries Artists. After taking part in two Triennials of contemporary art in Rome with his works published in Mondadori catalogs, in 2020 his name appears in the prestigious Atlas of Contemporary Art by De Agostini.
The work is an oil on canvas, signed and accompanied by a certificate of authenticity with the artist's logo, the artwork's characteristics, and the artist's signature at the bottom.
The colors of the painting may vary slightly from the photo due to camera and screen settings.
The artwork is carefully packed with bubble wrap and cardboard.
Eva's Vial

This work by Ninni Pagano, entitled The Ampoule of Eve, is a fascinating example of how the Sicilian artist manages to fuse the language of the Renaissance with a surreal and contemporary metaphysical sensibility.
The woman's face immediately recalls the portraiture of the Flemish and Italian Quattrocento (one might think of masters such as Antonello da Messina or Rogier van der Weyden). The translucent skin, high forehead, and composed expression convey a sense of purity and detachment. The dress with an antiquated cut, in tones of red and green, and the simple white cap reinforce this link with the past.
The striking feature is an extremely elongated neck, almost threadlike, that extends upward to allow the head to occupy the upper part of the container. This distortion gives the figure an unnatural and fragile grace, almost vegetal.
Eva is sealed inside a glass ampoule, an object that recalls alchemical laboratories. It is a microcosm isolated from the outside world.
The ampoule is partially filled with water (or a transparent liquid) that cuts horizontally across the figure at chest height, creating a play of refractions and a sensation of floating.
The upper structure of the ampoule, resembling a still with a pump diffuser, suggests that the figure is the very essence of femininity or life, ready to be nebulized or kept as a rare perfume.
In conclusion, this painting seems to reflect on the human and female condition: an iconic, timeless beauty that is, however, confined, analyzed and 'packaged' as a precious relic. It is a work that speaks of fragility, of secrecy and of the mystery of origins.










Instagram:@ninnipagano