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Personal identity emerges here as a surface of equivalence on which advertising distributes incompatible desires, roles, and promises, making “real reality” and “media reality” parts of the same portrait. In the Portraits series, Zampogna transfers the method of appropriation from art history, which was central to the Artmedia experience, to the codes of commercial communication. The face therefore does not represent an authentic core threatened by foreign images. It becomes the place where those images take possession of the person and give desire a social form.

The dominant green absorbs features, clothing, and space into a monochrome continuity that preserves the subject’s recognisability while weakening its presence, until it appears to be an image already prepared for circulation. Across this suspended identity, the three inserts do not function as simple quotations: the Burago toy car, the Emporio Armani male body, and the whole milk carton associate play, seduction, and nourishment without establishing a hierarchy. Their different scales interrupt the face while also organising its interpretation, as if every part of the person could be translated into a promise of possession, distinction, or wellbeing. The material discontinuity introduced by screen printing does not reconcile these registers. Instead, it makes perceptible the impersonality with which advertising language is stamped onto the painted image.

The work thus clarifies a decisive shift in Zampogna’s research: media contamination no longer surrounds the figure like a series of windows opening onto the world, but occupies the same plane and disputes its autonomy. The contrast between the portrait’s stillness and the persuasive efficiency of the advertisements produces a restrained irony, since the person seems able to coincide, at the same moment, with a toy, a bodily ideal, and an elementary need. What remains is not a denunciation of individual brands, but an identity made interchangeable by the very codes that promise to distinguish it.