Antonio Murgia fits into a language, the visual one of consumer communication which directs the focus of attention to the product in a commercial composition of reality.
The consumer product is conveyed as a truth of the world, a meaning is always promoted which, in this case, is the exceptional nature of the consumer good. A very strong contradiction between the induced truth and the factual truth because that same object is one of a serial production, one of many.
Art, Murgia himself, has the perception of this lack of uniqueness of the object which is then transposed into the work, into the artistic gesture, thus becoming unique, unrepeatable, the art that elevates that same consumer object to a good is achieved not reproducible.
What is the gesture that Murgia makes? Deconstruction. It carries out a decomposition and a recomposition, a synchronous action of reading the world as it presents itself, of the semantic scope of the messages of mass culture and then reusing them with a new force and content. He lives that segment of truth that is specific to the consumer object to make it his own, he makes it live in the sense that it becomes part of his own expressive language, of his aesthetic signature. It builds a new semantic system with respect to perceived reality.
Murgia's art was born then on the border of an act of decomposition and authentic appropriation of reality reworked in painting as a complex construct of fragments and structures which permeate reality.
Color, chromatism marks the transition from analysis to synthesis of this process, laying the foundations for the final moment of the deconstruction action: irony. The lighting of the colors, strong, in contrast with each other, fill the view, but always with balance, according to a greater plan of recomposition and not of rejection of the world which, governed by an aesthetic ideal that reflects the existential ideal of harmony, of order against chaos, gives shape to the Murgia world.