I like to think that art is a family thing, cause I grew up experiencing different matters and techniques, from pencils to watercolours, from acrylic to papier maché, and driven by what I was seeing around me, at home. My father was a designer and my first favourite artist. His departure, when I was six-years-old, was the start of a long journey into the depth and secrets of life itself.
That’s why my approach to art has always been personal, introspective.
A thorough and constant pictorial research started in 2007, when I felt the urge to express myself through painting. At first, led by what was familiar to me, my choice was towards a rationalized, geometric style. The square being the perfect shape to perform reality. I had some sort of necessity to have the world and myself well organized and tidy. Only one shape, only one colour (black, white or red), different materials (sand, paper, cloth, glass, glue).
Through time I evolved towards a free, informal way of expression that could let me go further into understanding my inner feelings, and while I was using art as a therapy, I realized that painting was going to help me understanding the world outside. What if my artworks could arise the same feelings into those who experience them?
This was the starting point for the series Primitive Abstractionism (the A.P. series), where primitive stands for original, pure, unrationalized. The work A.P. #1 (2008) marked a completely new approach to art, some sort of epiphany: no search for geometry, balance and rigour, instead a deep, trance-like moment in which the gesture prevails, there is no thinking, only feeling. A direct and sudden link between the unconscious and its actual manifestation. After that, I started to develop a new technique, based on the use of plaster, the perfect matter to manipulate directly on the canvas, mostly with bare hands. The sense of touch became important in the process, getting rid of any external interference between me and the material. Also the colour palette changed, becoming more and more eclectic.
With the advent of the crisis, my personal artistic research was ready for taking on a new direction. Western society was about to change (radically?) and I was, too. To me, this (apparently) negative moment of depression and pauperization, is just an era of transition and now is fundamental to set a completely new society. I believe in the power of ideas and collective support. Each one of us doing his part and artists should be in the frontline leading people through this time.
With this premise and developing a personal research on the relationship between finite and infinite, I conceived the Multiquadro (2012). This series is a mingling among painting, sculture and installation: the primary shape still being the square, I created a variable number of wooden squared pieces that can rotate 360° on their horizontal axis and mounted them on a chassis. The components are painted on both sides. Each one of them, by a simple mathematical law, can stand in an infinite number of position, the combination of more pieces results in a more than infinite number of possibilities inside just one work of art. The idea implies not only mathematical, but also philosophical and theological questions.