My artistic production comes from observing and exploring emotions and feelings, the invisible and often neglected part of the human being: drives, fears, thoughts, anxieties, joys, trying to elaborate shapes and colors to represent them, being well aware of the difficulty and perhaps the "lucid madness" of such a quest. Likewise, I observe the dynamics of our society and how social relationships shape individuals and the difficulty sometimes of adapting to them. Since I was a child, son of two worlds in some ways antithetical, I seek the symmetry of opposites, as a metaphor for life, the uniqueness proper to each individual, opposed to the widespread unique homogenization model.

A great lover of technology whose evolution I’ve been following for more than thirty years, fascinated by the enormous possibilities it offers in the artistic field as well, I prefer, in my artistic production, canvases and colors, the matter. I see in the dominant dematerialization that permeates the homo technologicus life, a dehumanization, the path that will lead man to be dominated by the technology he created.

I have always been attracted to shapes such as the square, circle, triangle, as well as to lines and colors, various art forms and their evolution. I draw inspiration from the shapes that appear in my mind as I live life, when I observe what’s around me, when I walk in nature and in the mountains near where I live, everything now offers me "geometric" ideas. I also explore other forms of artistic expression, finding the contrast between strict forms and geometric patterns with the irregularity and unpredictability of non-geometric artwork to be interesting and intriguing. While I mainly use traditional colors, my curiosity has led me to experiment with various methods and tools, exploring different techniques such as collage and combining them with different materials like paper tapes, pastels, acrylic or industrial markers, and even Bic pens (which remind me of my mom correcting her students' homework at home) to create what I envision. Lines and geometric shapes continue to be central to my artistic production (memories of my father's job, engineer designer of machine tools, he used to keep me sitting on his legs when he drew at the drafting machine), in them I see a strong and immediate, almost primordial, symbolism.

I consider the title of an artwork (including the subtitle, if present) to be an integral part of it. It's both: a prologue and an epilogue, capable of adding further meaning and context to the artwork itself. I like the title to remain untranslated, retaining its original form (in whatever language I thought of it at the time). Typically, I don't sign my artworks on the front in a visible way, but I usually sign on the edge of the canvas and/or on the back. In my opinion, an artist must claim the authorship of what he has created, but I believe it's right to let the artwork have a "life of its own," regardless of the artist's identity, so that it can be appreciated for its visual essence and intrinsic quality (without distractions or preconceptions).

The thing that I have found most rewarding over the years is when someone observes one of my paintings and gives it their own meaning and interpretation, even if it differs from my own. It makes me think that perhaps I have done something good.

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Premio Mestre di Pittura 2024 - Finalists exibition and catalogue selection

Biennale "Metropoli di Torino" Concorso Internazionale ninth edition 2024 - Finalists exibition and catalogue selection

Luxembourg Art Prize 2023 - Certificate of artistic achievement

Luxembourg Art Prize 2022 - Certificate of artistic achievement

Premio Mestre di Pittura 2022 - Merit certificate