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 Informal Bottega 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 thick layers of wrinkled and irregular color, spread with fast 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 veils and large material congregations which, in some points, re-emerge almost to dilate the surface of the canvas.
My performance wears out quickly with the drying of the acrylic color. In my actions I feel free to accumulate and then engrave, scratch, cut, burn, wound, pierce the material, exploring only intertwining, stumbling, collisions of meaning and signs. Hence immaterial spaces and atmospheres beyond recognizable forms.
In the creation of this indecipherable visual alphabet – of extraordinary freedom and executive fluency – 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 for me.
Thus, in the foreground, a tactile-visual body appears emptied of any formal residue that bears the sign of time, as if it had traveled a long, indefinable journey.
Completely autonomous reality, self-sufficient, free and devoid of historical or social references, in whose crossing-confrontation-encounter everyone can at least follow the breath of himself in open and unexpected containers available to those who want to talk, question themselves, worry together with me on the meaning of life, renewing the contemporaneity of painting at each event.
So far a pictorial space in the “making” that has physicality and corporeality as common denominator. Later I began to consider the physical contribution of nature to complete the work, exposing it to the wind, rain and sun, to re-unite culture with nature, life and history.
The titles of the works attempt to trace an invisible trace of the reasons of the psyche and, in particular, of the inner expressions. Rereading them, a historical toponymy of the soul emerges.
