His field of vision has a colour and the quality of that colour throws suspicion on the relationship between the vision and reality.[…]
But this colour then also throws suspicion on a position within the history of art, the history of colours par excellence. So I would say that Mauro Betti’s easel is extremely learned, mindful of the wealth of vicissitudes traced by contemporary art, at least as of English-style pop culture, but there is also a massive dose of graphics culture and contemporary comic strips. The civilisation of graphics, of Pantone, has replaced the encyclopaedia of nature, the seasons, the latitudes, which conjured up thoughts and reveries of travel, exotic experiences, dreams…