In his work “Uber Lullaby self Portrait”, Zanotto shows his hand. He starts from his own computer-elaborated face, incorporating it to a female body. It's a metaphor of the asexual artist, androgynous man that feels like a god, because he is able to create worlds, images, escapes and artificial paradises. This work reveals a higher self-consciousness, the artist reaches further away from representing castrating Amazon dolls; here he faces the universal theme of man, ego, and the D.N.A. of the conqueror, of the dominator.

We are all children of Cain; his portrait is a metaphor of power and of the evil that man creates. Within love hate sprouts, in love death hides, joy in pain, reason in emotion, there is no ugliness without beauty, and vice versa. In the harmony of opposites we can find questions, never solutions. Look at the baby with his livid complexion and the algid glance of the artist who holds him on his knees: his eyes (mirror of the soul) are as icy as Putin's and blood moustaches pour from his nose. Does the artist maybe wish to expiate the human aspiration to tyranny with this portrait? In doubt, we leave to our descendants the difficult judgement of guilt or presumed innocence.

Critical issue by Jacqueline Ceresoli