A protagonist since the late seventies of the Transavantgarde, theorized by Achille Bonito Oliva, Francesco Clemente has subsequently developed an increasingly solitary and innovative artistic profile that has increased his fame and international success. Over the course of his career, he has gone through, developed, abandoned and then resumed themes, obsessions (e.g. sex), techniques and formats at irregular intervals with the casual incoherence of an inner monologue, with the unpredictable cadence of the flow of consciousness of the individual, apex and origin of his work. After the retrospective in October 2003 at the National Museum, which marked Clemente's return to Naples, a native city in which he had never exhibited his work, the artist created a fresco of monumental proportions for the Mother, divided into two salt, and a ceramic floor, retracing the ancient places and symbols of Naples with the memory of childhood.