Oil on Canvas, 40 x 50 cm February 2020
Tag Archives: paintings
More than the masters, given that having them is fundamental, it is important that the education of a draughtsman or painter is, in youth , surrounded by people with whom to share their progress and passions.
Without this factors combination, in the future, will be very complicated to have a critical view of one’s work, which must be impartial, rigorous and never lenient, always.
I can not lie and make fun of the public, presenting works that are not satisfactory and credible from a technical and formal point of view, because the public is disarmed, and, in front of a benevolent criticism can be easily manipulated.
This is so, i know, because in the audience, I am there too.
Più che i maestri, dato che averli è fondamentale, è importante che l’educazione di un disegnatore o di un pittore sia, in gioventù, circondata da persone con cui condividere i propri progressi e le proprie passioni.
Senza questa combinazione di fattori, in futuro, sarà molto complicato avere una visione critica del proprio lavoro, che deve essere imparziale, rigoroso e mai indulgente, sempre.
Non posso mentire e prendere in giro il pubblico, presentando opere che non sono soddisfacenti e credibili da un punto di vista tecnico e formale, perché il pubblico è disarmato e, di fronte a una benevola critica, può essere facilmente manipolato.
È così, lo so, perché tra il pubblico ci sono anch’io.
Oil on Canvas, 100 x 100 cm, May 2019
When I am asked about the subjects I paint, I feel I need to clarify that any image I choose is to convey the representation of the sign that makes up the object. There is not a desire for conceptualization in this, nor an attempt to dissociate from one or more genres, there is a determination in wanting to separate the two readings in a decisive manner, so as to establish a bridge between meaning and signifier, keeping both on completely different levels and at the same time absolutely superimposable.
Quando mi chiedono dei soggetti che dipingo mi sento di dover chiarire che qualsiasi immagine io scelga, è per veicolare la rappresentazione del segno che compone l’oggetto. Non c’è in questo un desiderio di concettualizzazione, né tantomeno un tentativo di smarcamento da uno o più generi, c’è la determinazione nel voler scindere in maniera determinante le due letture, così da stabilire un ponte fra il significato e il significante, mantenendo entrambi su piani completamente diversi e nel contempo assolutamente sovrapponibili.
The search for levity is very difficult but it is a practice to be preserved. It is a bad thing to use the terms from one artistic practice to another but the timbre and musicality are what comes closest to the awareness unawareness of the painting.
Oil and Acryilic Painting on a Photo Print 25 x 20,7 cm, 2019 April
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.
The Wave Behavior of Matter is the basis of this reflection on what we see, on any “object” in relation to another. The relationship between the bodies is more intricate than we can think and deserves a reflection on our way of perceiving it.
This is a search that I feel to share and which occupies a central part in my current artistic activity.
In this video with some images in a timeline, I show the development that led to the painting.
The work satisfied me both for its construction, and how the various parts i have painted. This picture shows a robin in flight, a walking cat and a woman talking on the phone. Of these three creatures, the only one that we know where it will go is the cat, because it will goes to the woman. The background participates in a fundamental way, creating a livable, accessible space where the three characters can act. But what will happen once the cat will reach the woman? Time is crystallized into an eternal bet. The bet that is the invention of painting where everything is determined by the passage of the time, and the flow of the time has allowed at the painting to take shape. The brushstroke, every single brushstroke, allows a formal reading. We can see his develope, we can see passage of the time and how be can represented it. Through the excuse of the three characters story, the colors are laid on the canvas with the brushstrokes, one after the other, and represent the true work of art, that is, the time spend to paint it, . Painting is painting and it is also the artist, because within it is enclosed its time.
I just finished my painting experience with the artwork The Bet. It has been a long, interesting and significant journey where i have painted the time through the brush strokes. It would be better to say that I did not paint but that I am the painting, that show two part of it. First the result and second the making of it. If the representation of my work is the testimony of my work is within my work which is included that time. In a nutshell, what you see, at the end, is the casing in which time is enclosed. And the work of art is inside and not out of there.
“The Bet” is ready to Luxembourg Art Prize. Break the Leg!