Post-modern western art is born and structured by the decomposition of representation: in the irreparable division between the sign and the thing. Petrax, with his art, does not escape from this track. But the standard script of post-modernity, that is the inexpressibility of reality that reduces everything to a mere not necessarily meaningful concept, is here declined in a profoundly original way, that is through a dynamic conflict between the painted space and the graffiti; a conflict that leads the observer to a careful examination of the representation, to grasp the reasons underlying the original contrast.
And so the representation of man, reduced to elementary graffiti on certain chromatic chords of space, reveals a non-naive anthropological vision, in which the human being remains - self-stain and sign of the Other - against the background of a flow incapable of annihilate it to the end.
(historian of philosophy)