Silva Brodi’s most distinctive works reveal her fundamentally as an artist of figurative painting and drawing, whose poetic visual language in some paintings tricks us with its seemingly naïve quality only for that to be replaced in others with her elegantly confident style of painting. An important point in her creative history was the series of paintings she created that depict very attractive young male types, coupling them with the poetic and symbolic speech of natural backdrops of landscape and fauna (e.g. When You Arrive at the Foot of a Distant Town, My Love, 2005/06). The result is a subtle and elegant game in which she subverts the traditional gender roles of representation in portraiture as established in traditional art. The charming and youthful male faces look like the posters of film idols that plaster the walls of teenage girls but are here thrust into the serious medium of painting and in synthesis with the landscape become, as a reflection of the subject, part of the external projection of desire. This aspect is moreover powerfully underscored by the titles of the paintings. The artist’s work is thus not weighed down by a gender-critical ideology, but emerges rather from the visual pleasure of mass culture being projection into the personal position of the artist and her figurative-art idiom. In her paintings, men as a whole occupy positions of passive aesthetic objects, objects of desire, surrounded often by symbolic artefacts, such as a rhinoceros horn protruding from a man’s forehead in the painting White, Black and Gray Aspects from 2005.