These works are harsh, dirty, non-conformist, radical, and suggest that Scarabello’s research is taking shape as an atypical approach to the medium, reacting in opposition to the strongly aesthetic trends associated with contemporary painting. The spaces within the canvases are caustic and convulsive, alternating between fiction and verisimilitude, open and closed, sometimes circumscribed by reframing and characterized by acid chromatic transparencies, stains, and drips: all signs that carry the failure of the action. The brushstrokes are quick, reckless, but imbued with a strong awareness of how to exploit color at the moment of its maximum instability. The backgrounds are layered and collide instinctively. The figures do not claim the role of either actor or spectator, but they do not hide their vulnerable nature, which emerges most clearly when they adapt to or resist the pictorial traps set on the canvas, losing their anatomical meaning and reconfiguring themselves autonomously. 

With his works, Scarabello triggers a process that requires abandoning the need to understand painting in a purely aesthetic and reassuring sense, and instead reflect on the concreteness of the medium as a resource, in order to investigate and understand a provisional but complex reality, made up of continuous compromises and adaptations.