In my work there are not narrative presumptions, wills of showing technical intents, specious situations to begin the pictorial act or starting moments; there are not subjects, neither direct references, nor emotional immersions, translations of moods or pleased virtuosity. Moreover, there are not precise intents, better materials, more suitable colours and media preferable to others. When I enter the studio, which I see from the perspective of a workshop, I begin to work without pretexts. The images I generate do not chase anything and are only the fruits of my obsessions.I love physical work and I need to relate physically to the work, and i love to produce paintings, objects, papers… in an almost sculptural way.
In the early stages all them take shape from mistakes or involuntary situations, from recovered or unfinished works, as well as small insignificant details inside and outside the studio. They are the result of performative needs free from rituals, alluding nothing but themselves, which I voluntarily back out of as a narrator; I intervene in a more similar way to an instrument or a recorder. This attitude mainly results in pictorial works, sometimes gives life to sculptural works, materially and conceptually linked to the pictorial act; other times to installations or photographic works.
If something catches my attention I try to formalize it as soon as possible and to push it to the extreme consequences. In this way some cycles are resolved in a handful of works, other series generate a lot of works, it depends….I‘m interested in the incessant production of images these days and their immediate consumption.
I‘m obsessed with the images themselves, and I can‘t think of anything other than in images. I like to see my results as a collection of proofs, or as a grammatical analysis on the medium; this way, I bring into question the parameters with which it has been thought. When i paint i look for captivating
images, when I set up a show I try to create visually enjoyable environments.
The surface is a recorder of extremely casual situations, colliding with interventions that try to change route to the work, often failing, but constantly modifying its rhythm. I have always thought to the pictorial instrument as an object compound by single parts; to the canvas or wood as a surface on which I can register a series of actions. They contain a time component that always variates, and look like, indeed, to intimate performances.