it is curious to notice how some of jules maidoff’s oils seem like ruined frescoes, where some areas remaining clear while others have faded. this kind of representation consists in a true simulation of their approach or detachment from the memories and dreams revived in his painting. the taste for the irregular occupation of the surface, the uneven density of the matter, the virtuosity of the line drawn by the manipulation of the form, the play of mirrors and doubles, work in the same way.
if the calligraphic silhouettes suggest an unreal and dreamlike dimension, the plasticity of other figures suggests a physical presence of erotic and sensual evocation. the richness and the diversity found within each work are the best metaphor for the ambivalence of its fate, ranging from the answer to the everyday condition and the giving up to the calls of history. without nostalgia, and without.