The Homeless and the big sacks, ready-mades have a dramatic impact, ideally pursuing the knowledge of man within social reality.

No noble materials can be found, except for the use of ordinary garments realistically put on dummies - in a straight and complete visual rendering by the artist - though deep impulses and uneasiness waver under the surface.

These are fragments of an actual, contemporary reality, testimonies to solitude and anguish, the most relevant traits of the existential tragedy. The author gazes at the scenario and plainly displays the situation of those on the fringe of society who turn solitude into a sorrowful companion.

His new poetics scans reality with a ruthless eye and shows what nobody wants to see. Zagallo tells the world about the lost of integrity, the sense of desertion. He reacts with force to everyone's selfishness and through an honest and piercing language he unveils insensitivity, unfolding a relentless vision on truth. The big packaging sacks painted with irreverent images - disfigured faces, graffiti and youngsters' symbols - display the human weaknesses too, and they become a medium for a straight narration of the lack of reference points and values, something everyone should think over.

The art world, (…), is in no way exempt from this fall. This is why the artist asks his questions on the use and the misuse of the artistic expression, expressing the awareness that the language can be given by a straight representation of reality as well. The Homeless figures show a very distinct feature, that is the one of unavoidability, since they originate from a query from which neither the author nor the viewer can escape: "Are art and nature the same thing?" The answer is found in the ever renewable truth that the artist shows through the multi-faceted aspects of his poetics.

Gabriella Niero