Against a background that is reminiscent of the Neapolitan landscape painting of the mid-18th century (close, for example, to the paintings of Jakob Philipp Hackert) and with a brushstroke (even if digital) that recalls the Goya of the years of The Parasol (1777), Agostino Rocco builds his theatrical set interpreting the myth of Pandora with a technique that, thanks to photo retouching, is intentionally forced in the assemblages but perfectly integrated into the parts that compose it. The vision the artist proposes, byaestheticising the Fabbri objects,creates an alienating effect withoutridding the scene of immediacy,rather the refined reworking allowsplay on the symbolic plane, mixingup the effects: the use of pure red,for example, indirectly citing theamarena cherry, becomes thepunctumof the image, a highlyimportant detail on whichemotionalism of the spectator isfocused.