Paul Beel is a master of the contemporary portrait, not so much because his subjects are immersed in daily life but rather on account of his capacity to innovate a genre that has its roots in the history of art and is therefore strictly codified and difficult to re-propose. Faithful to his own poetics, in D.I.Y.Amarena Bangthe artist presents a view playing with the ambiguoussensation (also confirmed by thetitle of the work) provoked by anoetic short-circuit createdbetween the drama of the sceneand the explosive sweetness of theamarena cherries, these toopresented as a portrait, no longertherefore the object of the narration but a living, dynamicsubject, closely involved in whatappears to be a real moment ofecstatic climax, spaceless andtimeless: a dream-like parenthesisentrusted to the senses.The sacredness in the ascent of thegaze that encounters drops of rain(or pleasure?) as though the hole inthe wall were nothing if not an idealand imaginary journey provoked bythe metaphorical explosion ofFabbri goodness: what emerges isa secular holiness associated withthe material principles that touchbeing, but which are not profane forall this, rather they are exactly“aesthetic” which, after all, meansprecisely what is perceived with thesenses.