The object of Munro Galloway’s oeuvre is the relationship between truth, representation and stereotyping. Some of his early works consisted of small sculptures, characterizations of singers of love ballads; successively the artist created a series of portraits of actors of Hong Kong cinema, underlining the recurrence of expression and pose of the subjects. On the occasion of his first Italian solo show, Galloway has chosen as the subject of his research the representation of the natural: plants, landscape, sky. To offer a picture of nature, Galloway, who belongs to the ever growing number of artists for whom the idea leads the work and precedes and informs the technique, has chosen painting, photography in lightboxes and digitally generated images. Composed of sheets of paper printed by the computer and glued to the wall, a blue field fading into gray toward the lower edge and interrupted by splashes of light, mimics a sky that extends into infinity. The horizon line coincides, in this case, with the angle of the wall and the floor. The work is inspired by western landscapes but one also perceives a dialectic and critical intent with respect to the skies in the tradition of landscape painting. Three images in lightboxes placed on the floor portray ceramic flowers. The forms are sumptuous, the colours intensified by the retro-illumination - thus a closed artificial system, flowers and light, is put into crisis by its own artificiality - between the petals, moreover, dust has gathered, revealing that the freshness of the plants is also only apparent. Two paintings in livid tones present a dense vegetation: also in this case the subject, although natural, assumes a vaguely perturbing character, and the plants, presented in silhouette, appear to be more like a cinematographic re-elaboration than a real subject. The impressions that the works transmit is that of coldness. A trait that derives from their being pictures of a nature subjected to a scenographic necessity, deprived of all spontaneity. It is a sign of the fundamentally conceptual matrix of this research: the works are primarily materializations of ideas their actual production being secondary. Guido Comis