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Annabelle Priestley


Despite the apparent chaotic application of paint, Musti’s precise dripping technique leaves little space for chance. Each figure is the accurate reproduction of Greek sculptures statues he photographed in Sicily, while the colorful patterns are inspired by the Arabo-Roman art and architecture designs found in his native island. These el- ements of a glorious past, blend to form a beautiful whole. Yet, tension is perceptible. In this series, bright swirls of color shake the thousand-year-old statues out of their stupor. They wake up in a world in which humankind seems to have lost his mind. In their race for economic performance and material illusions, civ- ilizations forget about their past and jeopardize their future. Musti’s paintings are a direct comment on the current state of our planet endangered by warfare and ecological disasters, leading to human suffering and destruction of cultural heritage. As old myths are falling apart, Musti’s paintings call for the creation of new meaningful ones.

Annabelle Priestley is a curatorial assistant at the Princeton University Art Museum. She has an M.A in Contemporary and Modern Art and its Markets from Christie’s Education in New York.
At the Princeton University Art Museum, she put up the exhibition Women Artists and Abstraction and carried on preliminary research for several other exhibitions at the museum, including Joseph Albers: Formulation and Articu- lation, Time Capsule, 1970: Rauschenberg’s Currents, and Color and Motion.

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