In this latest body of work, DiFronzo turns inward, exploring moments in his life defined by an intangible yet persistent pull. These are not grand events, but quiet, formative experiences shaped by memory, instinct, and atmosphere. A decision to return home, a move across the country, or the impulse to paint a red door that later reveals itself as a buried childhood memory all become points of entry into a deeper investigation of intuition and meaning. For DiFronzo, these moments are less about narrative clarity and more about a felt sense of direction, what he describes as a calling. His paintings continue to draw from the visual language of the American landscape, but here they take on a more psychological dimension. Familiar elements such as roadside structures, railcars, and modest architecture appear as markers of human presence and the desire to leave something behind. These gestures, whether a piece of graffiti on a temporary structure or a trace of habitation in an otherwise empty space, speak to a universal impulse to be seen, remembered, and understood. DiFronzo’s compositions are grounded in the seemingly mundane, yet they are charged with a quiet intensity. Working with gouache, acrylic, and oil on the same panel, he builds layered surfaces that allow for subtle shifts in transparency, depth, and atmosphere. Light plays a central role in these works. He masterfully weaves together natural and artificial sources, often introducing fluorescent illumination at dusk to create a sense of tension and anticipation. The result is a cinematic stillness, as though each scene captures the final quiet moment before an unknown event. Echoing the sensibility of filmmakers such as David Lynch, mood and ambiguity take precedence over resolution. Underlying the exhibition is a larger question that runs through DiFronzo’s practice. Are these images, drawn from memory, imagination, and lived experience, fragments of something greater? Are they the kinds of fleeting visions that surface at the end of life, when meaning condenses into image and feeling? In The Calling, DiFronzo offers a series of meditative spaces in which viewers are invited to reflect on their own moments of recognition, intuition, and return. While deeply personal, this body of work also marks DiFronzo’s first solo exhibition in Miami, with each painting created specifically for this presentation and its audience. Subtle references to the city emerge throughout the series, from saturated color and Art Deco–influenced architecture to the presence of graffiti as an essential visual element rather than surface detail. In a city attuned to discovery, these works offer both familiarity and intrigue, inviting viewers to encounter something entirely new while recognizing echoes of place. Rooted in a remarkable ability to recall and reconstruct visual experience, DiFronzo works from memory, building entire scenes from accumulated impressions and lived moments. This process allows him to create environments that feel both plausible and dreamlike, often evoking a quiet nostalgia for the beauty found in life’s most unassuming spaces. This exhibition marks the beginning of an ongoing series, as DiFronzo continues to follow the impulses that shape his work and expand this evolving narrative. The Calling will open with an artist talk and reception at Stanek Gallery’s Little River location on May 16 and run through July 11.