Ernesto Romano

One of my works on 'complementarity'.
The couple in the foreground is dressing light gray, while the other is dressing dark gray.
The first is embracing, the other is separate.
The single man on the left wears complementary dresses and is opposite to the man on the right.
The line of the clothes of the man in the foreground is in the shadow line, where his darker clothes are. The man and the woman in the background have identical legs and dressing but opposite postures of the arms. He is brown, she is blonde.
The wooden parallel lines in the ground converge in the non-converging parallel cement skyscrapers; their regularity is the opposite of the clouds chaos. The shadow line ends in the center of the wheel, which seems to drag a strip of light in opposition to the black chain guard.
For a man 'sitting' on the wheel, there is one 'standing' upon the bike.
I waited for the corridor to be in the center; she is a woman while the two opposite






..

This is one of my works about 'complementarity'.
We see an extraordinary correspondence between the man and the statue, and a complementarity of the two heads, the arms, the carried objects, the directions of the sights, the specular folds of the clothes and, mostly, the two colors.
The figure of the man enlarges downward, laying his dark shoes on the ground; the statue narrows upward, pointing the brilliant torch towards the sky. The sandals of the man, not well poised, trample on a two-dimensional, horizontal, long, serial grid of metal, while the statue (which wears sandals but we don't see them) stands on a three-dimensional, vertical, tall, elegant pedestal of stone bricks.
The dimensions of the statue with the pedestal are exactly equal to the dimensions of the figure of the man. The wall in the shade is balanced to the wall in the light.
The correspondences and the complementarities, may represent how similar we are below all the differences.