About

In this exciting, explosive painting, John Varriano brings us the giant, underground web of concrete caverns known as The New York City Subway System.  Here, people wait for their trains to arrive and in many locations subway riders can be entertained by a vast array of talented musicians who play for cash tips.

This particular trumpet player has done so well for the day that he has opted to close his money filled suitcase and protect its contents by standing on it as he closes out his last set.

From this elevated position, his fantastic horn playing seems to sound even more exciting, as his stature as well is increased.

Varriano once again invites us into a world populated by the most interesting ‘ordinary people’ who go about their daily lives. Directly to the left of the trumpeter is a blind man accompanied by his seeing eye dog. He delights so much in the music that although close, he leans in further to absorb the penetrating sound. His dog seems to curl in on himself with a worried expression in direct contrast to its owner’s enjoyment. To the left of him we see a man in a trench coat curiously holding up a pamphlet, perhaps to flag someone down who has yet to emerge from the tunnel or perhaps to amplify the feel of the sound waves emerging from that horn.

To the far left of the painting is a white haired, bearded man, whom although walking rapidly and in a hurry, has turned his head to take a quick peak at the attractive woman walking toward the tunnel.  Hopefully he will turn his head in time to avoid bumping into the brawny fellow in his path. That brawny fellow is completely captivated by the music. His head is tilted in such a way as to remind us of a somewhat skeptical person who has been converted to belief by the phenomenal trumpet player.

Swinging to the right we see the young lady dressed in denim with the American flag on her jacket. Although we see her from behind, we can sense how captivated she is. Her arms are crossed tight and her hips are thrown in a classic ‘contraposto’ pose as her right foot is rooted to the concrete. Her body language indicates that she won’t be going anywhere soon. Next to her is a hooded man expressing the trance like fixation of a monk as he absorbs the music. We also find a slight built, middle aged, balding man seen from behind. His legs pressed together and feet planted on the ground indicate that he has literally been caught ‘flat footed’ by the music. The heavy-set woman in red provides gravitational drama as she strides forward into the painting and pulls us in with her.

There are of course the others, who are so typical of many New Yorkers. No matter how good the music is, they none the less remain more concerned in reading the newspaper or engaging in conversation, or partaking in a myriad of other routine activities.

Participant as well as observer, Varriano has inserted himself into the picture. He is the man in black descending the stair case. He looks out toward us, as we look in, toward his painting. In doing so he performs a gesture of mutual recognition as we gaze upon this magnificent work of Art.