Reviews in:








GENN 2020

Personal exhibition in the palace Campansi Siena


GENN 2018

Personal exhibition in the church San Galgano


SETT 2017


Personal exhibition at the halls of the municipality of Castellina in Chianti (SI).


NOV / GEN 2013


Exhibition at Renaissance Contemporary Gallery Pescara.


MAGG 2009


Exhibition at Villa Rezzonico Bassano del Grappa (Vi).


NOV 2008


Exposed exhibition for contemporary art gallery CHATEAU DES RéAUX Chouzé sur Loire France.


MAR 2008


International Exhibition of Contemporary Art "MATERICA" organization Color image association Location ARS HABITAT (PALAZZO RATTO-PICASSO) GENOVA, old town.


FEB 2008


Italy's award for visual arts organization ECO D'ARTE MODERNA, Certaldo historical building. Award winning under 30 thematic article on art magazine.


DIC 2007 / GEN 2008


Personal show at MODENA with the presentation of the critic FRANCO BULFARINI and interview with local TV.


GEN 2007 / APR 2009


Permanent exhibition at the galleria "POLIEDRO" TRIESTE.


OTT 2007


Exhibition at the "LA SPADARINA" gallery in Rosario Write PIACENZA.


MAG 2007 / LUG 2007


Collettiva "POP OBBIETTIVO" at Euro Hotel di Cascina Pisa on invitation of the ass. of contemporary art Bellini art.


APR 2007


Collective "MOLTITUDINE X- from the desert to the city" inspired by a song by Dino Buzzati at S.Croce Convent at S.Anatolia at the invitation of the Contemporary Ass.


FEB 2007


Collective at ROME ELSE TEATRO "PROPOSAL # 3" at the invitation of the TARTAGLIA ARTE gallery in Rome.


NOV 2006


Collective to ENOTECA FORTEZZA of SIENA "Parallel Realities" at the invitation of gallerist Alessio Trapassi.


NOV 2006


Collective in the church of SANTA CROCE in FLORENCE, in memory of the 1966 flood in Florence "40 years later ...".


LUG 2006


Collective to SAN GIMIGNANO "The place of mind can not be bought".


May 2006


Personal show in Poggibonsi (Si) "The five senses".


OTT 2005


Collective and competition for artists in Sansano (Si) "The Golden Frog".


SET 2005


Collective for a review of art, music and theater in Colle di Val d'Elsa "Liberacollarte".


LUG 2005


Personal show in Castelfiorentino (Fi) "Utopico".


JUN 2005


Personal show at Palazzo dei Priori in Colle di Val d'Elsa (Si) "New Perceptions".



Critics and Reviews:




Absolute dynamics that impress in the artist the desire to discover a new language, as in the case of Adrian, extending to a scriptural search, a sign, to the limit of a primitivism that raises the executive act to cosmic communion of being.




Andrea Domenico Taricco





It is not easy to express new concepts in the world of contemporary art, there are many proposals; just browse the main Internet sites to find thousands of works displayed in countless virtual containers, including more or less accredited cultural associations and galleries. A world of composite art and new, full of ideas, which is almost pervading in the eyes of all the navigators, even the less careful or avid. An art that grows in the net, at the speed of light, where everyone proposes everything and in all possible ways. Thousands of works emerge and go out in a kaleidoscopic world of colors. In this complex universe of images, one wonders what art is and what it is not, when it comes to dealing with a pure "tentative" extemporaneous from which to distance itself or when instead a path is to be considered with greater attention as a possible premise of future evocative evolutions. It is therefore necessary to better understand the value of an artist and his art being able to distract, in an attempt to distinguish between banality and quality. In this I am aided by the great historian Lionello Venturi, when in the text "as understands art", it is clearly expedient to make us understand that besides pictorial matter is not irrelevant, however, "art has a higher function ... of cognitive moment" , who has to be "able to interact with history" to be aware of how it can be a time of analysis in terms of human commitment. In other words, it is necessary to pursue not only the technical and formal aspects of the artistic work, but also, above all, the ideal and concrete motives that have moved the artist in his choices. Venturi suggests that we look at technique, but as a means of expressing content that in itself can illuminate the workbook far more and far beyond the technical data. In light of the above considerations, it seems to me easier to analyze the work of the artist Adrian. Adrian's youthfulness does not mislead the present potential of the same, the affection that he feels for art is innate. Adrian expresses a fresh visionary, which leaves the appearances of a possible, desired evolution.  He has assimilated himself from his father, classic talented talent painter, a sure approach with which he faces uncertainly both the formal sign and the entire compositional-chromatic system. The technical bases convince without fundamentals: the geometries, essential, support the composition, enhancing the pictorial yield rich in intense colors in both the cool and sensual feelings of passion. Adrian's works are rich and vibrant works that never expire in a redundant or baroque vision, since the artist, in fact, prevails in the interior imagery, made of an intense coloristic construct, but also of levities capable of pushing up the whisper of poetry. Indeed, the poem Adrian expresses in his works, and also linked to a parallel sense of musicality, acquires the reason for a catalyst element, becoming an indispensable engine, which makes the interior energy of many of his visions. The work of the artist shows the will to overthrow the purely formal domain, which is not transcended in its essential rules, but freed of pre-established barriers, to allow the opening to the felt, a proposal of pure abstraction and figuration, which puts vibrant visionaries as lively, so lively and illuminated that he is "immaginative patos". Immediately the artist has been married to his style, his universe, made of spirals of light, sparks and swirls recalling in their glitter the youthful world of discos, the world of fire that surrounds us everywhere, with his recalls with its temptations; but then the artist working with skillful collage technique, which at the moment prefers, repores images of the real, sometimes flowers at times female figures from rotogravure, which are surrounded and even immersed in a world of dreams. In this, in my own way, it seems to me that Muzzi makes an attempt to retrieve a poetic sweetness, we could say "romantic", in order to re-read the actuality of living with its infinite contradictions.


We all get welcomed by a thousand lights, which form as many illusions as narcotic consciences, ending to make us live out of reality. In this way, appearing above being the one giving way to the renunciation of that pinch of awareness, if present could suggest abandoning at least part of the desperate search for his own love and vanity, obvious products of the individualism of the present society in favor of greater freedom from debilitated needs, which in other words could translate as greater humanity and thus sense of the social belonging to sharing in order to love. So images that tell the real world about metaphor, where behind the illuminated appearance of the work is the anxiety of living. A message is born to be taken under the iridescent facade of the façade, to be understood and to be revealed gradually, as flowers floating in poetry suggested in a lively painting but at the same time soft and sweetly rendered in the embrace of the veil. The colors of the first planes are decided, obviously pronounced, also for the deliberately overwhelming overwhelming part of the collage, then it is approached and softened in the harmonious and delicate background of pictorial rendering. A painting that reminds the great Mimmo Rotella (the Calabrian artist who has become famous for his "decollages": paintings with overlapping of posters (especially movie ads or circus shows) torn from the walls to reveal images of tears , as from the imprint of glued and calcinate papers, giving this work a visionary intensity). Adria does not operate with similar intent and his art is not attributable to elements of "Nouveau Realism" as defined by famous French critic Pierre Restany as a European response to the new "pop" American trend. The illustrative technical path is also different or non-decollages but collage, not ripped image and transposed on the canvas or table to recall the images of advertising, but images well cut out by the newspapers, to obtain forms of photographic-matrix to interact in the processing unconscious mind with an inner poetic path. Muzzi glances at a new path that is still in the process of being defined and not easily codifiable but certainly personal and not lacking in originality, intended to perceive obvious reasons for an anarchic action of panting spontaneity, or if we want that neo-romance propaganda that it was a vigorous and gestural sparring by Jackson Pollok. Adrian searches for the colors of his astonishing palette, a new visual dimension, a new pronouncement, which flows between instinct and passion, between free gesture and psychic conduct, impulse and feeling. He invokes "gesture painting" when he slides "percussive" on the bases to pick up chromatic precipitations, but then in other works it softens almost transforms, fades all hardness and exits the inner purity dictated by the melodic voice of the soul. It is enough to look at the work: "towards informal (1), very informal, and confront it with the work:" floral transparencies "(2), where the image you do not expect, of other fecundity, dictated by a deep a sense of sweetness where we seem to be involved in a collapse in the universe of consciousness, which is repeated in various works with pretexts of floral images, interpreted between endless and unfinished. The flowers are often placed as central elements of composition, as a form of recalling the reality of nature and then to penetrate, to expand into a cosmic spirit all to be discovered and indefinite contours, but from which a harmonious vision of deep sentimental construct . Flowers cut out of newspapers, emphasized in their beauty by the collage-carrying process, laid on the canvas in a simple and not particularly sweetened way, to conjugate them happily to the whole, in order to create a visual ecstasy rich in expressive power that is pure emotional content , of which the abstract and liberating parts are a catalyst element. In the free flow of feelings under the impulse of pictorial action, there appears to be an energy that suggests in the struggle of the iridescent dream the attempt to overcome a probable existential drama. They are the poles of the human soul, which the artist's sensibility brings to light, on the one hand, the vigor and the rigor of the existence, and on the other, the distress caused by the emotions that make life united even in the continuous contradictions deduced in a change in moods that the color on one side collects and on the other tries to overcome heroically, but then ends up suffering almost fatally.


Adrian's attempt to understand the world or perhaps to want to control it at least in part, the artist transmits us an extreme sweetness that touches the ropes of the soul to lead even in the elaborate visual fermentation to the silence of silence or quiet dictated by the same chromatic harmony that becomes cosmic harmony.  Not the silence of sleep is in these works, but a silence of those who seek absolute in anxieties of existential redemption, of those who abandon themselves in ecstasy to find themselves, to return to struggle. Of those who fight against the black hole for nothing, always ready to invade our minds. So an artist who does not confront us with trivial images of rottenness on a canvas, but much more, proposes himself, with his vital expectation of changing the world better, thanks to the power of imagination and creativity that they are theirs. Adrian can effectively scratch the threshold of the mere description, or proclamation, to jump to the chronicle of art for the original creativity and even more to the very personal chromaticity, coined not to leave us indifferent, indeed to engage in a journey of humanity, that, on the one hand, it is introspective, on the other hand it makes us involved and active protagonists of an always different vision at every moment, such as the many perspectives and profiles in which humanity moves today. In each of these works, everyone can find himself, because they talk about the present, illustrate our life, make it with apparent simplicity, wanting to express themselves with universal language to better scrape the barriers of indifference or sufficiency. With Adrian the art is genuine, authentic intention, not just images but voices from the contemporary feel. Here's what can help the day-to-day development of art: the novelty that goes beyond banal. Despite the young age Adrian proves to be able with a dose of instinct and uncommon creativity, and also with the help of a solid preparation to produce works of great strength and emotional reach. While on the one hand, there is still no homogenous stylistic connotation, but research paths appear different, but all the paths currently undertaken lead to the will to make the existential experience meaningful, wanting to make the aesthetic value a vital impetus that redeems the life - man from the obvious land boundaries and give new impetus to the construction of future societies, where fantasy, creativity and sweetness can be objective to reach out to scratch the ever-bent arms of indifference, to give new impetus to the consciences by resuming moral values that they belong to us. I would like to conclude by describing the work "the world" (3), with those passionate reds and those iridescent glittering flashes, a stuccoing work that takes the retina immediately, for the inherent magnetism that moves on it and makes it clear how Adrian emerges the portrayal of the Italian pictorial tradition, though enriched and overwhelmed by international instances, of which the artist has full awareness. Add to the evidence of the vigor of the young artist who wants to get out of pre-established schemes to find his way into the embrace of a fruitful expressive freedom.




art critic: Dr. Franco Bulfarini





Here is Adrian's young Tuscan painter, as he himself states his works are the expression of his feelings of the experiences he has lived. Blend his passions like photography and painting by combining it with collage ... .. This mix is the best way to express himself .... "... my paintings are born from the love I feel for art and life and to give it away to me is a big detachment ... ..." Adrian Works rich in intensity, of all that can be contained. A picture vibrates, where the figures are confused with the thousand thoughts remaining alive, however, alive. You are traveling to the continuous discovery: searching for colors, lights, trying to catch each moment. The lights and colors met through a swirling of imput data from the outside world. Redeem yourself in that pictorial gesture, which leads to the representation of the black hole that swallows man. Everything in a certain sense has a double, abstract and figurative concept, it tries to elaborate, to understand the color in the nuances of life and the image is the catalyst that allows to see the void, the silence of itself same. Trim the reality to imprison him: each face, each body represented is suspended in the void, ready to fill all those imputs exhibited in collage but at the same time that something organic and tactile that looks for their own conscience and strength to express the its existence. A hermetism that disintegrates in time, into emotions in the rags of being immortalized. The relationship of the body that almost dissolves to enter the game of abstract scrub, the lines that are almost as if to blur, the white that dissolves in an ascetic intangibility, images that come out of the picture as if they were shadows, silhouettes to understand the world . The evolution of thought, talking to understand: so different languages of pictorial experiences. A connection not only interpersonal but also with the social the world that reflects in the picture. A puzzle that recaptures in a certain sense the feelings and life lived in the collective. The sphere of memories and whether they relate to time to understand each other. We select and combine informe to form to mark and draw a modern cartography, furrows, traps, artificiality of stolen image to the world that are based on the perception of a pictorial gesture, intense, of precarious existence. A sort of casing, like in a prison, scales on stairs, a labyrinth where we are locked tight without a way out. The same access colors make the immersion of that world, the balance of the structure leads us not to distance ourselves from it, but to continue to discover every small detail almost invasively. Even in white and black, we find red that breaks the composition or white that can confuse veiling the contours of what surrounds it. In fact, faces that emerge from a blue background seem almost millennial ice, where in the back in transparency you see the other ... at some moments it seems to say: nothing is as it seems .... Everyday urban scenarios, sometimes as nightly nights, the new symbols coexist with the transformed and idealized heroes of the community, which the artist snatches and tears to fit them into an unconventional setting. Photography, support and brush, color their mood and interiority. Color-coded coloration as freedom of reading life. You play with lines in a refined geometry: inside and outside you build a picture that is worn to perfection. The picture tends to catch the eye to try to make it into it, to swallow it in its world as if, besides being foolishly looking, it wanted to capture the feelings and illusions of the common man's eye. Endless stylistic research alternating the ideal tones, from the hottest to the coldest, from the desire for rebirth and affirmation free from all the outwardness in shades and transparencies of seeing below a appearance a scenic representation where the light and the hope, but also the drama that the same picture sometimes incarnates in mental places.  




art critic: Marica Petti.






"Signal investigation conducted by artist Adrian is very significant. His works are characterized by the presence of strong symbology. The meaning, lost its purely linguistic value, becomes Significant that leads to parallel universes in which the tacit becomes tangible and the unsolicited ask to be heard "




art critic: Salvatore Russo review on Boè's art and culture magazine.