"The semiotics of her gorgeous doorways continue with visual conceptions of aerial climax, cleft palettes, déjeuner lovers, and cigarettes after sex. Very practical. Turning her attention from the untouchables to the untouchable, Dumas addresses the social repressions and restrictions on sexuality by painting tabooed portraits of eroticism, spirited phallus, and glistening labrum. Here, the cardinal dogmas of the political imaginary lose their assertiveness, and we witness the impotence of modern politics and cocks to govern the chaotic events of the subvisible world. Perfect lovers with cropped faces in exquisite pleasure, abandon, puffy lips and cunts, separated from their bodies, swollen tongues and pride, schismogenetically diverging from the chaotic traps of social rule. This is not an aesthetic of inclusion, which is precisely the point. Eros, wet on wet, is partitioned from the affective social sphere, opposes it, conceives a separate province dominated by pulling apart pleasure, friendship, and the fading, improvised memories of lovers. Her moist strokes of oil initiate parallel separatism of discernable eros, intimacy, pleasure, and transformation, where lovers and politics look for places to crawl in—a personal reflection that tests our social imputations. Dumas decides with forbidden deliriousness that pleasure will not fail her, that the strongholds of male-centered repression will not hold power over her aesthetics. The most nihilistic of answers are erotic. Cheeks filled with Champion Ruby smoke (possibly tongue in cheek and definitely nostalgic) castrating patriarchy in teethy, faded fellatio. Sucking the oxygen and pale-green chlorophyll from the room, breaking bread with all her selves, asteroids with dust tails that lacerate, then collapse into flyaway constellations. This is really decadent. A mesmeric, indeterminate nebula beyond fleur-de-lis bindi’s and washed out, misty blue chakras, she changes our social proxemics irreversibly. Facial kinesics, every flicker, flinch, quiver, deathly snarl, vaporous orgasm is highlighted by her signature tight frames, peering into the inner life of those she paints: one risky zone to enter." - Estelle Hoy, "Parting of the Seas: Marlene Dumas"

"Il Flauto Magico. 16 collezionisti per un'istituzione", a cura di BRUCIATI, Andrea, Museo di Castelvecchio, Verona, 2016-2017

ARTVERONA, "Catalogo Artverona 12esima edizione", 2016, p. 133.

BRUCIATI, Andrea, a cura di, "Il Flauto Magico. 16 collezionisti per un'istituzione", Museo di Castelvecchio, Verona, 2016.

GALBIATI, Matteo, "Le infinite strade del collezionismo. Con il "flauto magico" parola ai colelzionisti", Espoarte, anno XVII I trimestre n.4, 2016, p. 120

Sitography: HOY, Estelle, "Parting of the Seas: Marlene Dumas", www.moussemagazine.it, 29/03/2022.
www.moussemagazine.it/magazine/marlene-dumas-estelle-hoy-2022/