2019 Bottega Informal 2020 Senso Signs Research / 2021                                                                                                  Note

I started this notebook in 2019 when I felt the need to record some intimate and quick notes. I needed to collect ideas, observations, studies that nourished me in this first Bottega Informal that I started attending.

From the beginning my painting did not come from the easel, nor from the brush. In fact, I began to paint without predefined patterns and basing 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 veils and large material congregations in the same space which, in some points, re-emerge almost to dilate the surface of the canvas.

My performance is consumed quickly with the drying of the acrylic 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 Senso and 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 non-time, as if it had traveled a long indefinable 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 a common denominator. Later I began to consider the contribution of nature to complete the work that is thus exposed to the wind, rain and sun, to combine nature and culture, life and history.

One more note. Rereading my creativity I can only recognize the parallel trace of the search for an inner truth. In fact, the titles of the paintings placed at the end of the work trace an invisible trace of the reasons of the psyche and, in particular, of the personal expressions which, from time to time, have marked moments of inner transformation and ever greater interpenetration of the surrounding world, maintaining a recognizable original dimension, an identity of its own.