Bonavita's "figures-not-figures" in reality are only entities that recite the subject and the backgrounds of his paintings are only the representation of an objective reality. The bulky, clumsy, indistinct masses in movement that populate his works, and crowd the space in an invasive, impersonal, useless way, are only parodies of the existing.
Private in their physiognomy from the distinctive characteristics of homo sapiens, with an infinitesimal skull, atrophied by the habit of thinking, by the absence of original formulations, provocatively ugly in a society devoted only to the appearance, inform against the cult of the defined, these figures-not-figures wander without a precise function, apparently without a goal, without a true function.
In Bonavita an antagonistic, critical frontality appears persistently, always driven by a corrosive desire to highlight the points of non-return of contemporary society. His staging, his representations, tell of situations related to isolation, the impossibility of a ransom, tell of the unease of the different, of the excluded, of the non-approved, forced to the margins by a society that refuses what is not has managed to stereotype.