The greatest Baroque artist is honoured here by means he used to explore, creating the light-dark technique, giving contrasts and a light and shade relationship that is unique – a dramatic light.

His spatial distorsions, his changes of scale in the same painting, are in this drawing convoked in a way he couldn’t at his time imagine.
Gradually, as our eyes adjust to the darkness of despair, we begin to see the emerging shapes or outlines of hope.
Flashes of light erupt as blessed scars in this cryptic drawing, they are enlightening the omnipresent blackness, open secretive holes, recall us of Cézanne earlier paintings as well as Caravaggio’s masterpieces.
The 21st century artist invents here a frontal view to depict his predecessor’s figure, he doesn’t forget the stupendous leitmotivs the Baroque master treasured and draws a composition where the death mask of the past master becomes part of an engraving composition.
Frontality and statism here chosen are not treasons to the diagonal and theatrical compositions the master painted: they are pure homages to his inventiveness as they compose a nowadays prolongation to his art.
The neologism ‘’spectrophotolgy’’ John Gorman invented is here operating.
The lessons of more recent creators, like Emil Nolde, are surpassed.
Delicate and though brutal rips which occur in this drawing recall us of the wounds Caravaggio had to endure physically during his combative life.
Violence, impatience, seizing contrasts of a life and a work which we know the importance in art history are here both represented, exceeded and eased thanks to the incomparable talent of Caravaggio’s heir.

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