“Have you acted in accordance with the desire that lives within you ? Here is the experience of human action […] recognizing the nature of desire that is at the heart of that experience…” J. Lacan, The seminar. Book VII. The ethics of psychoanalysis (§ XXIV. The paradoxes of ethics)
Creativity is essentially the search for an inner truth.
My painting does not come from the easel, nor from the brush. In fact, I began to paint without predefined schemes and based on the inspiration of the moment, free dense layers of wrinkled and irregular color, spread with quick and instinctive gestures.
I then connected the body of color to heterogeneous tactile material – poor, recovered, worn out by time and use – modulating in the same space glazes and large material congregations that, in some places, almost re-emerge to dilate the surface of the canvas.
My performance is consumed quickly with the drying of the color.
In my actions I feel free to accumulate and then engrave, scratch, cut, burn, wound, puncture the material; exploring only weaves, stumbles, collisions of signs.
Hence immaterial spaces and atmospheres beyond recognizable forms.
In creating this indecipherable visual alphabet – of extraordinary freedom and ease of execution-, the physical consistency of the work and the corporeality of the light, whose expressive and aesthetic values are represented by the colors and materials used, acquire primary importance.
Thus, in the foreground, a tactile-visual body appears emptied of any formal residue that contains its own time, as if it had traveled a long journey. Completely autonomous, self-sufficient reality, free and without historical or social references, in whose crossing-comparison-meeting everyone can follow the breath of himself.
I therefore consider my works of open and unexpected containers available to those who want to interloquire, questioning, be uneasy together to me on the meaning of life, renewing at each event of the contemporary painting.
So far a pictorial space in the “making” that has physicality and corporeality as its common denominator. Finally, the contribution of nature is essential to complete the work that is exposed to the wind, rain and sun, to combine nature and culture, life and history.
The titles of the paintings placed at the end of the work instead trace an invisible track of the psyche reasons and, in particular, of the personal expressions that, from time to time, have marked moments of inner transformation and ever greater interpenetration of the surrounding world, maintaining a recognizable original dimension, its own identity.