BCE

Considering the constant flow of images, a distinctive mark of the media influenced society, the human eye finds it hard to catch pictures of reality that can settle in our memory for more than a handful of seconds. Contemporary men and women are subdued by a fictional world crowded with visual representations, capable of imitating reality and finally replacing it. The
modern viewer withstands the non-stopping picture and image circus by means of one basic eye skill, that of catching key fundamental traits. It is called visual economy: a few features of a face and some outlines are enough to recognize a media celebrity, or a mass-produced commodity.
In Stefano Bullo's paintings, though, these facts do not force themselves on the viewer, but allude gently, setting up an objective identification process.
By exerting a careful procedure of diminished definiteness, in his portraits and ensemble scenes he tries to attain the necessary but sufficient form,
through which the viewer can securely identify the subject. The illustrative skill of the young Venetian artist, both in portraits and in large paintings, endorses the viewer's familiarity and proximity to the subjects depicted. The scenes are rendered sketchily, but are boldly coloured, and appear like the images on a plasma display panel. His brushstrokes are full and confident and outline the subjects' essential features, while the backdrops summarize the fundamental space references by means of just a few colours, which also apply to incessant reinterpretations connected to the depicted subject itself. The images generated are iconic, but at the same time out of focus, as if they had
been worn out in the mass recycle process typical of our society."...
-Diego Mantoan-