Michele Bubacco

For Bubacco, the poster is a cultural thermometer, a fixed aesthetic form that paradoxically documents the ever-changing pulse of Venetian society. The distinctive format of these posters—dictated by Venice’s narrow alleyways and limited space—echoes the city’s unique physical constraints that mirrors the particularities of the city itself. By painting over these remnants of public communication, Bubacco transforms them into palimpsests of meaning, layering new narratives onto the traces of the city’s cultural life.
Bubacco defines his artistic process as Pictorial Metabolism, an eccentric lexical invention that encapsulates his conceptual, excessive, and radical approach to painting. The painter draws an analogy between painting and the human processes of food intake and digestion, suggesting that painting, much like the body, perceives everything it encounters as something usable. Just as the body requires a continuous supply of nutrients to sustain and develop itself, painting too thrives on a constant influx of visual impressions. Bubacco navigates his unconscious visual fantasies with a sense of irony
and play, constantly shifting between spontaneity and intention transforming them into artistic expression. This process unfolds as a state of perpetual becoming—what the artist initially envisions at the outset of creation often morphs into something unexpected through an organic dialogue with obsessive imagery and the self-realizing nature of the pictorial act itself.
Redentore da camera ultimately challenges the notion of Venice as a static postcard image. Instead, Bubacco reveals a city in flux, a place where cultural history and ecological urgency intertwine, demanding to be seen, questioned, and metabolized into new forms of artistic expression.