A Modern Interpretation of the Triptych as Understood by Artist Rossella BLUE Mocerino

A triptych is an early form of Christian art dating back to the Middle Ages, but thanks to artists like Francis Bacon, it still speaks to modern, non-religious creators. While Bacon preserved the traditional structure of three distinct panels, his works are so massive that the format itself seems ill-equipped to contain his creative output. Human emotions cannot be confined, nor can a theme be fully defined within the physical boundaries of a canvas. Perhaps that is why frames often seem to restrict and finalize a painting in a false way; in truth, there is no definitive beginning or end to a piece of art.

Francis Bacon. Triptych 1986-7

Typically, a triptych divides the subject of a single painting into three distinct sections, but I have begun to conceptualize the format differently. What if I take a single subject and explore it across three separate canvases? While each piece can stand entirely on its own, the three works collectively express the entirety of the theme as explored by the artist. They are tied together by a shared concept and color palette—and, as a signature of my own work, they are also deeply connected by masked figures.

The Mannequins Triptych by Rossella BLUE Mocerino

• Left Panel: The Mannequins

• Center Panel: The Shopkeeper

• Right Panel: Welcome, Signor de Chirico

  
  

I wanted to incorporate nudes into my work. I was reminded of Giorgio de Chirico’s art when I spotted a few undressed mannequins in a shop window near Piazza San Marco in Venice; to me, mannequins are indeed nudes. Ultimately, the goal of this 'triptych' is twofold: to pay homage to De Chirico and to explore the fascinating world of mannequins.

  The Doors Triptych by Rossella BLUE Mocerino

• Left Panel: The Red Door

• Center Panel: At the Door

• Right Panel: Interior with Door

  
  

The subject that next caught my fancy was the symbolism of the door—open and inviting, or closed and forbidding. Who stands on the other side: a friend or an enemy? And what do you do when one door after another proves inaccessible? Do you try everything possible to enter, or do you seek another path? Once again, I explored this subject using a three-canvas format.

In the past, I created a traditional triptych, a diptych, and a pentaptych; although I do not plan to revisit those exact forms, the multi-canvas format still deeply speaks to me. It offers a self-imposed discipline and a rigorous process of selection. As I conclude this post, my thoughts return to Francis Bacon, and I find myself wondering about the exact moment he, too, realized that the triptych format spoke to his artistic soul.