In the exhibition “Textual Appropriations”, Baroli presents paintings with the tension of a rebellious eroticism. Once again, the artist appropriates the tradition of Art History, dominates it, and exposes it in all the rawness and power of a 21st-century, post-sexual liberation eroticism. A bloody, menstruating version of Courbet’s “Origin of the World.” A classic Christ figure impaled with the artist’s face and genitals exposed at eye level to the viewer. A decapitated head, a self-portrait, displayed by a naked executioner with explicit erotic vigor. In the scandalous auto-eroticism of the “Automaton,” a metaphor for painting itself.

These paintings are conceived from the appropriation of erotic images of men and women in their intimacy. The same intimacy is also established with the brushes, transgressing the notions of representation under the subjective lens of lyricism. His broad and striking features emphasize a realistic crudeness, especially that of the human body. According to the artist, the way he conceptualizes, systematizes, and executes his work was acquired in the academy, the result of an endless process that requires commitment and research.