The romantic self hopelessly believes it might do. Combining a giddy sense of its own transgressive power to clear awareness of inexorable subjection, this Image seems to loom the shape of pragmatism. Calling on the mythical, one may in turn relate the puppet to the traditional mediating feminine entity. Now one wants to guess it's a matter of dreams, now one has to check into his previous work, now one sees that the matter of dreams reaches further. In Montesano's work a kind of hardly perceptible disarray alters proportions, contrasts color, plays a subtle part.
Images tell stories, polylogue titles confirm desire.
This is how he discovered the need to copy some of the pictures in books, as much as small-scale sacred images he found In churches. His very first work for others was a fresco of Saint Luigi Gonzaga. At the time he wanted to become a priest, later on he joined the army. Then in 1968, at the sight of teenagers beaten up by the police, as much as unarmed people attacked with billy clubs, he decided that, even though he did not know what these young people were up to, he would stand on the side of protest demonstrators. Montesano's individual myth is a catholic one.