Often we talk about research, I simply call it practice.
How to progress, a temporal progression.
If it is true, as I have often pointed out, the artwork is contemporary only in the occurrence, freeze a frame is to deliver a testimony.

Return the volutes, in the clouds, in the sky, in the foliage, in a smile …

I always thought, of course, that the representation of a painting through photography was very complicated. The matter becomes more complicated when  i need to build a blurred image not with a color gradient that penetrates the other, but with a series of tiny dashes, which give, watching him closely, character of painted almost unobservable. The camera, remains “embarassed” and  returns an image far removed from the real perception. However, the right distance to observe it is in my opinion about 40 centimeters from the nose.

Biroscape #20

Starless

The archive section helps me to know where I come from. This is an opportunity , that I have now, to understand that i can go in many directions, without formalism.

The construction of a painting is, for me, the renewal of a process that has its roots deep within me.
The Clock Tower where Big Ben is enclosed has a special place in the city. The relationship that exists between Westminster and the City has always fascinated me, and I think that this monument is to testify that don’t exist a center, but that coexist several centers who join in that great breath that is London.

I’m working on two large paintings, one of which is the representation of Whitehall from Trafalgar square. It ‘a long and precise work, not so much regarding particular subject, but to obtain the perception of the blur on it.
Trafalgar from whitehall, Little Detail

“The destruction of the community”