Artist’s Statement

I am an impressionist, vitalist, and intentional painter. I have the attitude of the Impressionists even though I maintain the instinct of the Abstract Expressionist action painters. Each line is therefore an experience with its own unique history.

My attention turns to the pleasures that arise from impressions, sensations, perception, the body and the mind. The impression is what moves the senses and the body of those who have the capacity for imagination. One can think of the reaction to an image as a leap, you cannot arrive from the material without this leap and vice versa. Arguably because the artist can get lost in his work (Shelling), additionally, because an image determines a kinesthetic intelligence. This perception is a thought, an elaboration, it concerns the intellect.

One looks at an image from several points of view, selectively analyzing it, finding the differences and then the appurtenances. My paintings facilitate the process of imagination through the impression, and arouses the curiosity of perception. These are compositional visions in which the perspective is sometimes inverted as if space had lost its focal point, and all things were directed towards the viewer in an ascending and descending overall vision. This can be seen in Tintoretto, the contrast between empty and full, connection between form, light, color and compositional structure (Sartre). It is an abstract painting because it plays with the material elements of the canvas, with space, with its pure and simple properties, and with its own material properties. The compositions are not fragmented or congested, but whole, compact, but not like those of Roshach’s test, there is no organic paroxysm. It is art that arises from a careful contemplation and perception of nature without unconscious contaminations (Hegel, Sartre) in which we are mirrored. Intrinsically, negative entropy characterizes my work, orderly and neat.

Nature is a primary inspiration for me. I have a transcendental idealistic love of it like Merleau Ponty does of knowledge. In which there is identification between me and nature that can be drawn through intuition and contemplation. My favorite nature is the one found in Himalayas where there is no dust nor humidity. The Himalayan plants were brought to France by the botanist Joseph Pitton de Tournefort, commissioned by Louis XIV to locate new plants, many of which are found in Giverny in Monet’s garden. Furthermore, the decor of Versailles created by Louis XIV is also a source of inspiration since the similarity is no longer a source of knowledge, but rather the occasion for error, the danger to which we expose ourselves when we do not examine the bad place shadowed by confusion (Foucault).

The similarities that I attribute to my paintings are only those necessary to combine the image with language (Foucault). The imperative of the art of knowing says: use words with absolutely identical meaning; exclude meaning fluctuations (Husserl). Art is ineffable, it cannot be the task of a philosophical interpretation of works of art to produce their identity within their concept. There is a distinction between Art and Philosophy, however philosophy clarifies its meaning (Adorno). The idea of the beauty of nature as art: this is not a simple analogy or human idea imposed on nature; instead, it is the intuition that the aesthetic form, the emblem of freedom, is a way or moment of existence for both the human and the natural universe. It is an objective quality (Marcuse). The imitation of nature is the principle of art (Shelling).

For these reasons the colors are important to me as well as the proportions of the painting, its structure, and the emotions it communicates. These emotions are nuanced, light, airy, soft. The light predominates in my painting because the dark, the shadows, the black, is often assimilated with the dirty and the negative (Adorno). Looking at the paintings one gets the impression of Leviticus’s body and spirit, transcending for a few moments: euphoria as Dennet claims. The soul is the brain (Libet), and intentionality can be developed through exercising it (Dennet). The study of the interaction of colors in relation to light, from the Impressionists to the Pointillists at the Bauhaus in Ryman, pushes me to search for unusual refractions, irradiations and transparencies, and simultaneous mutual contrasts.

White is always present as light, the sum of pure colors. It is the absence of boundaries; it is the infinite. Then pink, often the color of the sky at dusk or dawn, much loved by Freud and Goethe, also the color of some flowers. Then green, the color of vital plants in their chlorophyll photosynthesis. Then the blue, the color of the sky and the sea.

PRESENTATION
I am rather inspired by the colors and works of Warhol. This world came about at the beginning of the century due to the unleashing of the productive society. A reality shaped solely by the character of the commodity in question. Society is as if diluted in a delicated magma that surrounds it, a magma consisting of interference: the order of society is disordered, its deconstructed structure, its symbols no longer represent it. Technique and technological innovations level the way of life and suddenly affect luxury (Paquot). Warhol, transfigures the products, making them beautiful. Re-aestheticizes them, pushes aesthetics to the extreme where it no longer has an aesthetic quality and turns upside down (Baudrillard). Although with the Brillo Box, it was a provocation, he exalted the opposite, that is the opaque, as Danto writes, to which he gives an inscrutable value.

The artist is immediately affected by things, just as he immediately reacts to things (Shelling). The philosopher as with the artist, must consider the vulgar material of a supermarket as well as luxury that precludes alienation (Marx). It is not necessary to own a luxury item, it is enough to contemplate it. Without luxury, society would fall asleep on routine and end up regressing (Paquot). There is a difference between works of art and other objects.

The research has as its object the forms that own a semblance in coining new geometric and natural shapes, sinusoidal, swaying like beauty lines (Hegel). Since in nature even if geometric shapes do exist, every shape is a set of points (Kandinsky). It seems that the various connotations of beauty converge with the idea of form. In the aesthetic form the content matter is brought together, defined and ordered in such a way as to obtain a condition in which the immediate forces are not dominated by matter, structured and ordered. The form is negation, containment of disorder (Marcuse).

It is an aesthetic research since the source of inspiration is nature. Painting implies an intense sensation, an ecstatic impulse (Shelling) as Cy Twombly wrote when thinking of Dionysus. The brush strokes become impalpable.

The sexual drive called Voyeurism consists in the pleasure of looking, could be at the origin of the insatiable intellectual curiosity that distinguishes the scientific and artistic researcher. Sublimation is the mechanism responsible for many superior human activities such as scientific research and artistic creation. As Merleau Ponty argues, the eye and spirit are detrimental to the artist who, according to many, should be silent like Balthus. The painters who have influenced me the most are Warhol, Morris Louis, Cy Twombly, Patrick Heron, Hans Arp, and the father of abstractionism, Monet, who does not use black and who met Tintoretto on his trip to Venice.

1. Oleandro screziato, 2020 acrylic on canvas 31.4x15.7 in. | 80x40 cm. Price €3000

2. Zen Garden, 2020 acrylic on canvas 27.5x27.5 in. | 70x70 cm. Price €4000

3. Zen Garden with Lythops, 2020 acrylic on canvas 27.5x27.5 in. | 70x70 cm. Price €4000

4. Bellis Perennis, 2020 Acrilyc on canvas 39.3x39.3 in. | 100x100 cm. Price €4000

5. Bud, 2020 acrylic on canvas 39.3x39.3 in. | 100x100 cm. Price €4000

6. Calystegia silvatica, 2020 acrylic on canvas 47.2x11.8 in. | 120x30 cm. Price €3000

7. Ceanotus monogyna, 2020 acrylic on canvas 47.2x11.8 in. | 120x30 cm. Price €3000

8. Energy, 2020 acrylic on canvas 19.6x19.6 in. | 50x50 cm. Price €3000

9. Laurostinus (Viburnus tino), 2020 acrylic on canvas 23.6x23.6 in. | 60x60 cm. Price €3000

10. Leaves of linden pushed by the wind in a red sunset, 2020 acrylic on canvas 31.4x15.7 in. | 80x40 cm. Price €3000

11. Liquidambar (sweet gum), 2020 acrylic on canvas 39.3x39.3 in. | 100x100 cm. Price €4000

12. Luciola (Firefly), 2020 acrylic on canvas 27.5x27.5 in. | 70x70 cm. Price €4000

13. Percezione del cielo e dell'architettura, 2017 acrylic on canvas 80x80 cm. €3000

14. Dioniso, 2017 acrylic on canvas 200x80 cm. €3000

15. Impressioni di acqua chiara, 2017 acrylic on canvas 200x200 cm. €6000

16. Giardino sospeso in estensione, 2016 acrylic on canvas 200x50 cm. €5000

17. Impressioni di petali di rosa, 2015 acrylic on canvas 70x70 cm.  €2000

18. Le pieghe del Barocco, 2019 acrylic on canvas 100x100 cm. €3000

19. Modulor, 2019 acrylic on canvas 150x200 cm. €5000

20. Oleandro screziato, 2019 acrylic on canvas 40x60 cm. €2000

21. impression of Spring, 2001 acrylic on canvas 80x80 cm. €3000

22. Alba, 2017 acrylic on canvas 20x30 cm. €3000

23. Circonvolizioni cerebrali, acrylic on canvas 200x120 cm, €3000

24. Impression of rose petal, clear water and sprout, 2017 acrylic on canvas 20x30 cm. €3000

25. Morfologia Botanica, 2013 acrylic on canvas 100x150 cm. €4000

26. Giardino satellitare, acrylic on canvas 100x150 cm. €4000
 

27. landscape with birch and grass leafs, 2013 acrylic on canvas 200x120 cm. €6000

28. Impressioni planetarie, acrylic on canvas 80x80 cm. €3000

29. Interazione di colori, acrylic on canvas 150x150 cm. €4000

30. Memorie di cieco, acrylic on canvas 200x120 cm. €6000

31. Narcisi, acrylic on canvas 80x80 cm, €4000

32. Paradiso dantesco (Canto XXXIII, acrylic on canvas 220x80 cm. €3000

33. Pussy, acrylic on canvas 120x80 cm. €3000

34. Ritmi naturali in un quadro geometrico, acrylic on canvas 80x150 cm. €4000

35. Sfarfallamento, acrylic on canvas 150x150 cm.  €4000

36.Talete, acrylic on canvas 120x120 cm.  €3000

37. Biedermeier, 2012 acrylic on canvas 120x120 cm. €4000

38. Himalayan impressions, 2012 acrylic on canvas 100x150 cm. ,€4000

39. Impression of rose petals, 2011 acrylic on canvas 80x80 cm, €3000