Iron Silhouette

“Aquarium” captures the details of the seafloor through plays of perspective, materials and colors, transporting the viewer on a journey into the blue.
A light spreads from below, brightening the colors of the water against a shaded celestial background, traversed by reflections of iron transparencies, bright fish schools, corals, sand piles, seaweed and starfish.

At the center of the work, an intricate school of fish dances in harmony. A lobster emerges among the floating silhouettes, while other fish feed among the intertwined coral.

The scene emerges from a sheet of wrought iron. A single iron wire joins the characters and mixes the bent shapes in dance, amid the notes of a small jazz orchestra.
Altered characters, large noses, heads contracted in one place, animal snouts, ears, paws, crooked fingers…

“Waiting” is a painting consisting solely of painted iron and depicts the close-up of a female figure. Emphasis on the gaze, the details of the eyebrows and lips, is placed through selective coloring of certain parts of the composition and is exacerbated by the direction of the incorporated lighting.
Two large hands in the foreground support the subject’s face and frame its uncolored ironwork. The forehead is mottled with golden flecks, which run down and illuminate the slit of the eyes.
Outside light frames the center of the scene and, like a small sun, insists on the iron. The light blurs the contours of the face, burns out its details, and draws the viewer in from a distance, resulting in greater emphasis on the intensity of the dark blue gaze.

In “Summer Colors,” Roberto Miglietta yields to a fully abstract dimension.
An iron plate is embedded in the canvas through four small nails and occupies the central part of the painting. Through the cut sections of the iron, the background emerges, confused and segmented: its boundary retreats in several places to give way to a lively and indefinite composition, with vague and decomposed subjects.
The thick grain of the paint, in some places mixed with coffee powder, thins out in the lower left through four series of cuts and scratches, also imitated by the drawing.

The half-bust of the woman depicted consists of an iron silhouette made to rust, parts of which were painted in acrylic: the glasses (red frames and cerulean glass), a segment of the nose (sand-colored) and the upper lip (bright red).

The polychrome background bisects the woman’s face, giving depth to the subject. The embossed iron silhouette dialogues with the background and is enriched with shades through the light embedded in the frame.

The protagonist of this painting is a female figure, reproduced through wrought iron and olive wood. The wood – carved, painted in acrylic and then planed – gives shape to the bust, while iron is used for the rest of the subject’s body and clothing. Captured in an instant of movement, the woman seems to dive inside the painting. The dynamism is rendered especially by the detail of the skirt, which breaks the left wall of the work and invades the surrounding space. Created through the superimposition of two iron plates, the skirt seems to be the victim of a gust of wind or a particularly severe step: as if approaching the center of the painting causes turbulence.

The painting depicts a female figure with contours defined by a wire. The woman’s proportions are deliberately distorted: her hands and face merge with her arms and neck, creating a continuity of forms. The complexion is blurred with light brushstrokes.
A window in the background casts a diffuse light, creating an aura that embraces part of the female body and obscures vanishing points.
On the bistro table in the lower right corner are three flower vases, also blended with the background.

Inspired by the project of an anthropologist known for collecting drawings of children from around the world, Miglietta interpreted these childlike works into a series of paintings.

“Chocolate Eggs” is a painting that transforms a child’s drawing into a lively artistic representation. The two ovoid figures that dominate the canvas look like open eggs on a plate, with an egg white in light tones and a yolk represented by a brown iron wheel, blending with the background of the same color. The cocoa-colored nuances reveal the enigma: the pan eggs are made of chocolate!

Squares, rectangles, trapezoids and triangles: the negative sections of wrought iron reveal an underground movement. Here Miglietta reproduces an interweaving of lines and marks, made through the use of sac à poche. Hidden and in the background designs are revealed in relief.

Created from a wrought iron panel, this work transforms industrial waste into art. Empty spaces, originally considered to be manufacturing waste, become protagonists and expose a vibrant background of acrylic-painted jute. Abstract forms weave between the voids and solids, creating a dialogue between the solid and the light, between industry and craftsmanship.

A man’s face emerges from an iron plate. The roughness and natural rust of the material help define the details of the hair and hands. This texture is made even more complex by the tangle of acrylic applied with a sac à poche on the iron slab.
The background, a uniform khaki devoid of shading, cancels the visual references of everyday life, prompting the viewer to focus completely on the subject. In this composition, perceptual levels are reversed: first the color emerges, then the silhouette of the face, and finally the background. The work deliberately plays with the traditional order of vision, inviting the viewer to an immersive reading of a man’s profile.

The wrought-iron work captures green tones and through a studied color assonance evokes the city atmosphere during a storm.
The vivid green of the back plate, interrupted by a disturbing golden glow, interacts with the darker plate in the foreground. The left side of the painting houses a subtle embedded neon, which alters and intensifies each hue, contributing to a dynamic work that is sensitive to its surroundings.

The painting exhibited here captures the hues of copper green and stands out against a dark background. The yellow-smeared turquoise of the foreground plate interacts with the milk-white acrylic of the one behind.
The hues of the background recall those of the night and replicate the outline of the statue illuminated by the light of downtown street lamps. Artificial light that caresses and flanks, like the saint who observes from above the teeming life of the nightclubs and blesses the hectic city walk.