The recovery of the face, the loss of the mask through a big installation that starts from the almost infinite iteration of stamping the face on the mask, goes on to create a whole where the multiplication of this practice invade space.
This mask, as states Luigi Chiarelli,  “is the complex of external attitudes that men undertake under the stimulation of social reality that surrounds them”.
The mask is the social patina of the costume, of fashion, which participate in all the reactions between the individual and the collective path, between the life of the individual and that of a specific social category where the roots of the existence of that same individual finally lay.
While the basic idea was to answer to Antonio Gramsci’s aside who asked, “Who can snatch this mask out of the face, who can live not according to the violence of social convention but according to the dictates of his own deeper Ego, of sincerity that surly exists at the bottom of every individual’s conscience ?”
When Jano was young, he wanted to be an actor, then he told me that there was no way of following that career but I feel I can argue that a part of that world was not lost, it merged with the man and the artist, once again unveiling the mask and showing the face, in its aesthetics and beauty.
To Carmelo Bene the face is the “narcissist enchantment in art”, “aesthetics of face”
The same face constitutes the “scene”, “imagine” of art.
And it’s the same in the faces that Jano reproduces and creates.
Resuming the words of the great Italian actor, we think about Narcissus research that “dissolves the image in the attempt to appropriate and decipher his own identity”.
In this attempt he dismantles and dissolves the identity that from an obsessive presence becomes paradoxically an absence, a question, who is the artist?
The work becomes a map of multiple identities, first the masks and then faces, projection of our essence into a multifaceted, identifiable, cartographical world; a fragmented border in a constant progress, able to nibble silently but at the same time to absorb the space that surrounds it in its slow but inexorable expanding which is an obvious cross reference to the work of Alghiero Boetti who sketches, in the words of Calvino, “paths of crossed destinies”.
As Jano cuts, he as well superposes, effectuates doublings. He never presents a single form, but he multiplies that same form, in a series of different repetitions. He abandons himself to the proliferations of unique matrices: to variations on the subjects.
“True me is never me, the greatest madness is not to be without an ego, but to believe myself as an Ego in a “Egocracy””.
The reference to the Narcissus myth is strong and present.
In his coaction to repeat Narcissus obsessively coming back again and again to look himself at the mirror, and he sees himself every time so different because the face never cease to be transformed.
In the repetition, in the iteration of himself, he finds only difference, plurality of being.
In wooden portraits Narcissus mirror shatters and crushes the Pirandellian multiplicity of “characters”, imprinting the seriality of an echo of a single artistic personality, setting himself as a constant in an overlap of colours, codes, ages, artistic and cultural dimensions.
It is not a work oriented to chronicle, so far from the reiteration and the chronicle narrative of the self which the character of the artist in “The Great Beauty” indulge in, but it is a symbolic projection of the human role within the society with evident positive intents and breaking barriers and borders, both material and social ones.
Indeed, the narrative continues when the artist plays to unveil, to uncover also the space of coexistence, playing with borders even in the place where all the personalities meet and combine: the city.
In Upside-Down City the world is overturned, in its Cartesian being as in its scale of values, burdened and crushed by the weight of a mountain that cannot fully fulfil the role of a negative exception, constrained by its real and true physical essence leads the work to become an almost archaeological process, study and tale of a root and a base that disappears and dissolves in floating white city in front of which we now stand, a city locked and closed between walls, oppressive for its whiteness and purity, which is able to detach itself from any foundation and obligation, in an upwards projection that becomes the solution and overcoming of any social, political and geographic limit.
 Luigi Chiarelli, La Maschera e il Volto, Atto I, 1913
 Antonio Gramsci, Cronache Teatrali, tratto da “L’Avanti”, 1920
 Carmelo Bene, Le voci di Narciso, Saggiatore Milano, 1982
 Massimo Recalcati, Tempi di iocrazia, Festival Filosofia, Modena Settembre 2016
 Luigi Pirandello, Uno Nessuno e Centomila, Mondadori Milano, 1932
 Paolo Sorrentino e Umberto Contarello, La Grande Bellezza, 2013