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Focused on the refracting skin, these reflections destroy any perceptive continuity. Ordinary experiences given by the popularization and domestication of Deconstructivist architecture are translated into a trope: close-up views of those surfaces become miniaturized oneiric visions.
In the resulting kaleidoscope, humans as well as any other recognizable thing are fugacious and isolated apparitions.
The story no longer exists, connections are lost.
The aesthetic of small reflective surfaces become a metaphor for the connective isolation of the i-phone era, and the dreamy-nightmarish montages of Ascari’s paintings visualize the compulsive state of mind related to it.. In this context, the painstakingly painted canvas presents itself as an out-of-place, out-of-fashion image/object, polemically inadequate, slow, simultaneous, and complex, consciously raises questions about physicality and presence, contemporary archiving and memory of the present, aesthetic of technology/power.

Raffaele Bedarida's critical text abstract, “Cells”, Harlem Studio Fellowship, New York, 2009