Main work takes place going back from dark to light, as if the sun were coming in little by little. Only in this way can one get so much white, that it is enough for describe the light that is pursued.
They are obtained in this way, waiting for the lower part to dry, more and more bright shades of white.
Acrylic on Fabriano Mixed Media Cardboard, 15 x 21 cm, March 2019
Oil on Canvas, 50 x 60 cm, September 2018
When I was commissioned this painting I had in my eyes the volutes of the skies of Normandy and the harrowing sensation of an event that was shaking my city, Genoa. In this cloud there are the events of those days that turn into the will to represent them, in the gestures, in the brush strokes are blurred or decided, but not to transfer the burden of a totalizing experience in the subject. Therefore, the pain or the pleasure remain inside of me and are projected outside, not in the painting, but in the medium yes, to the end, with the need to build an almost mystical practice with the object through I can represent my idea of world.
Quando mi è stato commissionato questo dipinto avevo negli occhi le volute dei cieli di Normandia e la sensazione straziante di un accadimento che stava scuotendo la mia città, Genova. In questa nuvola ci sono gli accadimenti di quei giorni che si tramutano nella volontà di rappresentarli, nei tratti del pennello siano sfumati o decisi, ma non di trasferire nel soggetto il carico di un’esperienza totalizzante. Quindi, il dolore o il piacere rimangono dentro di me e si proiettano al di fuori, non nel dipinto, ma nel medium si, fino in fondo con la necessita di costruire una pratica quasi mistica con l’oggetto.
This portrait is important because show the peculiarity of the painting that seem out of focus but in real is very focused. It is realized with a different technique from that used by crawling the brush to get a blurred effect. Instead the effect is obtained by many small brush strokes that allow me to get a really disorienting effect for the eyes. It’s a real technical challenge that has a rendering impossible to make with a simple photograph. Click on the image.
Digital Painting, Original size, 4000 x 4000 px, 300dpi, 2018, February
Oil on Canvas, 30 x 40 cm, December 2017
Buying an artwork is not just buying the artifact but it is the chance to contemplate the synthesis of years of work that have allowed the work in question to be conceived. You buy the time passed to build it,that you read through the signs left on the surface. you can read on it the pictorial path. A painting is not a piece of a person is the testimony of a dialogue between the mind and the unique and unrepeatable hand.
My advice is to always start from the drawing and the composition. The acquisition of manual dexterity is necessary ind is achieved solely and exlcusivley through constant practice. It’s like learning to play an instrument. You have to keep on trying this and that, be lucky enough to have a good teacher and if you don’t have one then learn from nature, by which I mean the reality around you and the work of artists who feed your curiosity and sensitivity. I think this is an essential prerequisite even for someone pursuing a path which is seemingly remote from painting or sculptural practIce in the traditional sense, as it allows a whole bag of technical tricks which can be made available for the creative act with whatever material is used. Formal practice allows us for example to choose the appropriate means to express a certain type of composition, a broader awareness and the broader the range of expressive possibilities. The idea should always be able to rely on a manual ability which allows it to manifest itself and to materialise. One last thing I want to add is that what has always been the moving force behind my work is to have an infinite respect for the person interacting with my work.
