The model on the canvas above and the “painted” figure the previous one is his muse-wife, Kyara–his erotic inspiration and his terror. She offers herself at each end of her extremities. The hosiery are twin galaxies of stars. The suppleness of the left leg is beautifully repeated in the languid shadow reported on the carpet. The artist is only present as a sculpture painted as an oil. He has inverted the myth of Pygmalion. He is the artwork that his Kyara bids come to life to ravish her.
Mascolo paints himself as a Roman bust of Caesar–a comic allusion to his corporate responsibilities.
The canvas on the floor is blank– but the door to a surrealism worthy of Magritte is open and the true empire over which his imagination presides.