Water

Schifano returns to water as both a surface and an idea. The reference to Monet is unmistakable, yet there is no sense of contemplation here—only speed.

The painting is built through broad planes of color: a light blue sky animated by swirling strokes of white, layered blue and green water applied with a palette knife, and white water lilies that flash across the surface like graphic bursts. They are not depicted as flowers but as signs. Schifano reduces them to icons, almost like logos, scattering them across the canvas with the same immediacy through which Pop culture flattens and reproduces images.

The choice of copper as the support is fundamental. The metal beneath the paint makes the light vibrate, gives the work a tangible presence, and transforms it into an object. Water is not a window onto the landscape; it is a screen. It reflects, absorbs, and gives back.

In this work, Schifano completes the circle between Informal art and Pop Art. He takes one of the most iconic themes of modern painting—water, light, and nature—and reinterprets it through his own visual language: rapid gesture, acid-bright color, and mediated memory.

Water is therefore a landscape without depth, yet filled with time. It is Monet seen through the lens of television, advertising, and the vibrant energy of Rome. It is nature no longer experienced directly, but through its image.

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