Constanza Schaffner is both a painter and a Pasolini scholar, and her latest works make that double identity inseparable. Drawing from Roman frescoes, Renaissance portraiture, and Pasolini's films, the paintings layer her own likeness alongside Pasolini, Maria Callas, and figures from Pompeii into scenes of operatic, impish complexity. Like Pasolini's own method of aesthetic "contamination," the works proceed by citation, pastiche, and anachronism—dreaming across epochs without resolving them.
