The Fourteen Stations series is a key example of Clemente's early work and his connection to the Transavantgarde movement. This movement, like other branches of Neo-Expressionism, saw a return to figuration and emotional expression. No. XII, specifically, showcases Clemente's interest in the self-portrait, the body, and the exploration of inner psychological states. The fragmented and distorted figure suggests themes of identity, transformation, and the multiplicity of the self. The series as a whole, with its reference to the Stations of the Cross, introduces a spiritual dimension, albeit one that is ambiguous and personal rather than traditionally religious. The large scale and expressive handling of paint contribute to the work's powerful emotional impact. It represents a move away from the cool detachment of Conceptual and Minimalist art towards a more subjective and emotionally charged approach. The work, and the series, cemented Clemente's international reputation.
Born: March 23, 1952, Naples, Italy
Nationality: Italian
Style: Neo-Expressionism, Transavanguardia
Influences: Indian miniatures, Italian Renaissance painting, symbolism
Major Exhibitions: "The Walk Home" (1982), "The Fourteen Stations" (1981-82), "Self Portraits" (1980s)
Quote: "Painting is a way of thinking with your hands."
The artwork features vivid colors and intense brushstrokes. This work is part of a series of twelve large-scale oil paintings (not fourteen, despite the series title, which is itself a reference to the Catholic Stations of the Cross) that Clemente created in New York. No. XII, in particular, depicts a fragmented, androgynous self-portrait. The figure's head is multiplied and distorted, with eyes appearing in multiple locations, suggesting a fractured or multi-faceted identity. The background is a swirling, abstract field of color, creating a sense of dreamlike unreality. The paint is applied expressively, with visible brushstrokes.
