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My art works are the re-elaboration of a lived and experienced event, along the line of time. Through the process of synthesis, I gather the most significant instants and I overlap them, as if I were able to see them on a film and as if I were able to have at my disposal all of the frames. 

The works, which recall a photograph during long exposition, are simply the essence of the event together with their external and internal forces which guide it.

I believe in the power of movement and in the strength of painting in order to generate an active dynamism to the spectator. So far I have studied movement in many of its dimensions: in the anatomy, through time, through space, in chemistry, through emotions… While everything around us continues to mutate, men try to stop time and try to represent an instant, and in this way believe to become its master. Indeed, my paintings arise and take inspiration from this conflict: by starting from a static support, they are in need to give back to the instant the movement that they belong to.  It is the research of an active dynamism, symbol of life and of continuous evolution against everything which is still (the great disease at present time).

I paint by moving not only in the three dimensions, but also in the fourth (through time) and in the fifth (through feelings, the interior movement).

I paint the human body, moved by the internal and external forces which animate it.

I paint the essence of things, as beings which are alive, functioning or functional. Nothing of my creations is ever still because what is without movement is imperceptible in everything.

I paint the accumulations of an event, by omitting the unnecessary.

I paint the essence of the shape as a clue for the spectator, in order to enable him to be driven by the emotions. Moreover, I paint to make the observer imagine, through the lines and shapes, the details that he prefers and eventually make them his own. It is through this manner that on the canvas the image will be able to last in time and to modify itself, by starting and ending, because it is the observer who, by imagining the details, becomes owner of time. 

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