Sins of my father Series

The *Sins of My Father* series is an intense exploration of family dynamics, where the artist stages a universe in which traumas are not necessarily linked to direct abuse, but derive from a more subtle and, sometimes , invisible, left by the parental relationship. The "sins" to which El Nigro refers are not acts of explicit violence, but the effect of a distorted love, of unspoken expectations, of unfulfilled dreams and, perhaps, even of good intentions which, however, end up creating an emotional misalignment between parents and children. This misalignment, although not physically visible or traumatic in the strict sense, generates a disturbing psychological and social metamorphosis in the children, who become werid "hybrid" beings, a mix of what they are and what they should have been. In this series the artist does not judge parents, but analyzes how their actions and omissions have lasting effects on their children. The paternal or maternal figure is not seen as a threatening shadow, but as an entity that, even in its love and good intentions, can produce a sense of incompleteness and disconnection in children. The hybridization of the latter, therefore, is the consequence of a continuous tension between the desire to be oneself and the need to adapt to family models that do not allow authentic personal growth. These children, now aged adults, although they appear normal at first glance, carry within themselves an invisible fracture that makes them strangers, towards their parents, society and towards themselves. El Nigro's aesthetics, while characterized by a dark atmosphere, is not devoid of beauty. His vision of the hybrid, of the different, is something that, while disturbing, also stimulates a reflection on the complexity of the human being. The artist creates a visual language that tells of the incomplete, the fragmented and the unresolved, in a world where the search for oneself is a constant struggle against the expectations of others and the invisible scars left by the past.
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